The Leonard Bernstein Letters (80 page)

My dear Leonard,

I was delighted to receive your letter of January 4. I was also pleased to hear of your plans to perform my music during the spring season.

Alas, I cannot appear on television myself before I complete
Noah
⁹²
(when will that be?): on this point my television contract is very strict. And, two times also, I can't be in New York in March. The best I can do is send you my fondest greetings and to hope that all goes well. Perhaps, too, you would be kind enough to greet the children from me.
⁹³

Cordially,

Igor Stravinsky

P.S. Franz Waxman has urged me to try to persuade you to conduct a concert of my music in his (mid-June) Los Angeles Music Festival. I would be very happy if you would accept, of course, though I know you must be busy at that time (as I am; I can't participate myself).

Dear Lenny,

What can I say to you? Words seem feeble […] and I don't know how to tell you how grateful I am, but that must not prevent me from trying. Your spontaneity, your affection touch me deeply – and after this very moving week, for so many reasons, passed so quickly, alas.
⁹⁴
I drown – yes, I drown in the memory of
ma Petite
,
⁹⁵
hoping for you to receive a little of all that you give – and a little of the indefinable joy which gives peace to the heart, to life and to the spirit. And at the moment when this mystery is about to bring a new life into your existence I pray to God for [her] and for both of you.
⁹⁶

Read what isn't written, and feel all that goes to you, from the bottom of my heart.

Nadia
⁹⁷

Dear Lenny,

Carlotta & I are very happy over the safe arrival of Nina Maria and hope that we shall have the opportunity of seeing her – as well as the rest of the family.

I felt most unhappy at missing my concerts with the Philharmonic but was forced to give in to the doctor.

We are being very quiet and getting a good rest before leaving for Chicago on the 16th. Will be back for the rites of spring in Connecticut and hope that your plans are going to include Redding plus a visit to Rambleside.

Affectionate greetings to all and a welcoming kiss to the new Princesa.
⁹⁸

Faithfully,

Fritz

Dear Lennie,

Apparently we cannot come to an agreement with your lawyer's requests which I consider totally unreasonable.

I
have
fulfilled my promise – I
have
a signed agreement with Zeffirelli! It is unfair and unreasonable to expect me to release you if Zeffirelli dies or breaches his contract (both of which I hope and trust are only remote possibilities). In such case I gladly agree to
consult
with you on a substitute but the decision must remain the Management's – unless you agree to run the Met! Really I feel this has now gone on long enough – even beyond contract there should remain an ounce of mutual trust and confidence – so please sign now and I won't worry. I have no intention of killing Zeffirelli and substituting Karajan as Director! You got all you want – so now please give me what I want: Bernstein!

Thanks and regards,

Rudolf Bing

No further “clause” is needed – attach this note to the contract! Bing
¹⁰⁰

Dear Lenny,

We miss you just terribly. There's been no real gaiety since you left. We've had a couple of games of anagrams, but without you there's no excitement. You're one of the blessed ones who make everything they encounter come alive. It's a rare and precious gift, and I wish you a long enjoyment of it.

A letter from Thornton [Wilder] contains a message for you: “Tell Lennie I know all about the Kaddish because it's in
Finnegan's Wake
, and give him my uproarious regards.” He also says: “It sounds as tho' you were a congenial crowd – the ‘Round’ gives earnest of that. Anyway, with you and Lenny there the tone is set is How to be civilized though an artist.” I quote the sentence exactly, punctuation, or rather the lack of it, capitalization and all.

Have a wonderful and refreshing time in Spain.

Love from all of us,

Louise

Darling Greens,

Does this notepaper look familiar? Do you suddenly feel queasy at the sight of it? Does it bring back gorgeous salons filled with square brown chairs, Doman & Pythias, Fancy Hat balls, ping-pong, the Lido Bar? Ah, the beautiful past we have shared!

And then, & then, you did Capri, which I trust was heavenly. And I did the highlife of all time – two weeks of Princesses & Maharanees & phony Barons, parties without end, villas to make you gasp. I was the kid of the moment: it was all insane, ignoble, absurd, & vastly entertaining. But I wouldn't want to live there.

I drove here yesterday, through Provence. God, what charm and beauty! Felicia has been in Paris for a week buying out Chanel: she & Mike join me here any minute now, & then we tootle off as tourists in this wild heat. I'm tired but
strangely exhilarated by this feeling of holiday, and I'll be home the 15th to rest and to hug you both. A big kiss to Adam and God bless your new home.

Un abrazo fuerte,

Lenny

My dear friend Bernstein,

At the conclusion of my guest appearances at the Philharmonic Hall with your magnificent orchestra,
¹⁰³
I am sending you my heartfelt thanks for your wonderful cooperation and for making it possible for me to be the first “foreign” conductor to appear at the new hall with the New York Philharmonic.

Everything was just perfect, and the members of your orchestra are musicians of the highest caliber. I felt at home with them right from the start of the first rehearsal, and I am very grateful to every one of them for their assistance, help and attitude.

My thanks also go to you personally for your sentiments, and I shall never forget the way in which you behaved when I was very sick in Vienna, after a dangerous eye operation. Then I experienced that you are a real and great human being.

With best wishes to you, Mrs. Bernstein and your children from Mrs. Böhm and

Yours very sincerely,

Karl Böhm

Dear Lenny,

The score you have of
Structures
underwent surgery last summer. C. F. Peters will send you the new version later in the week.

At the Stockhausens New Year's Eve. After drinking in the new year he announced “and now we will have some music.” Most of the guests' eyes lit up. They thought they were going to twist. He then went to the phono[graph] and played two hours of Stockhausen, Foss and Feldman.

Fondest regards from your non analytic

Morton

Dear D,

This isn't exactly the moment for catching up on ages, literally, of Riverflow, but I have to write you today to say that Lina A[barbanell] died on Monday (or rather Sunday, I think, the 6th). We were all shocked: she had gone into hospital for removal of a tumor, and couldn't take it. Poor great gallant lady. 84 years old! Of course Marc is all but destroyed, and I think he'd deeply appreciate some word from you.
¹⁰⁵

A is born, B dies, C is in agony, D has some joy, E is humdrum, & we are all of them. I have not yet finished my 3rd Symphony (
Kaddish
) which will be
something
when and if it gets written. I had hoped by now to have it complete. Alas. Once I have finished it, I can rest in peace: it is my Kaddish for everybody. Last week had joy in it: Mahler #5. Glorious. This week, R[oberto] Gerhard's #1. Next week, East Lynne. Ça continue. Newspaper strike. Jamie has chicken pox. Alexander is a sensitive dream; Nina is funny & bright. Felicia is brave and a little tired. I am exhausted, and off to bed.

Love to you all, and a very happy '63.

L

Cher Maître,

It is curious to be writing to you after some
thirteen
years – the year of the first performance of
Turangalîla
. But I think of you very often, and I keep up to
date with your music. Last season we had the great joy of presenting the
Trois Petites Liturgies
of which we have made a record for Columbia to be released next year. I hope that you will be pleased with it.

Today I am writing to you on the subject of your impressive work
Chronochromie
.
¹⁰⁶
Despite my best intentions, it will not be possible to give this enormous work with the rehearsals that are allowed in a typical week of the season; but I believe that it would be possible to perform just the final part on its own, separately (i.e. the Épôde and Coda). Would that be blasphemous and meddlesome? It seems to me that this part, on its own, would be very effective in a concert, and very moving. If you have objections to this, do not hesitate to let me know. My address: 895 Park Avenue, New York, 21.

With my warmest good wishes,

Leonard Bernstein
¹⁰⁷

Cher Ami,

I was extremely touched by your letter, and thank you with all my heart for it. I, too, think of you often, and – if you remember – I have applauded you several times after your marvelous concerts in Paris.

Thank you a thousand times for the
Trois Petites Liturgies
on record for Columbia. Who are the solo Ondiste and pianist? And who is conducting? Is it
you
? (During my trip to Japan, Seiji Ozawa also spoke to me of a performance of the
Trois Petites Liturgies
. Was that the same or another one?)

Your
name
and the first performance at Boston in 1949 are at the head of the magnificent edition that Durand has given the
Turangalîla-Symphonie
.

Now let me reply on the subject of
Chronochromie
.

The division of the work into seven sections (Introduction – Strophe I – Antistrophe I – Strophe II – Antistrophe II – Épôde – Coda) is a formal division. But there is no break between these sections, and the work forms
a whole
,
without interruption
. The Épôde uses only 18 solo string instruments, in 18 real parts, namely 6 1st violins, 6 2nd violins, 4 violas, 2 cellos. That's not interesting
except by contrast with the rest of the work. The rest is written for a very large orchestra, with a solo xylophone and marimba (plus a set of 25 tubular bells for which the part is rhythmically difficult). Finally, all of the work, and above all the two Strophes (where the harmonies of the strings and the woodwind counterpoints of birdsong must underline the
rhythms
and the
durations
of the metallic percussion instruments by
coloring
them) justify the title:
Chronochromie
, that is to say:
Color of Time
.

Would you like to wait a little while?
Chronochromie
is entirely engraved, the plates are at the printer at this moment – and the work will appear in large score and pocket score here in two months, around 15 June, from Leduc, publisher, 175 rue Saint Honoré, Paris (1er), France.

I will send you a score at that time, and you will see the music for yourself.

Thank you again for your letter, and all my best wishes.

Olivier Messiaen
¹⁰⁸

Dear David,

As usual, these words are penned in haste. Will there ever be no haste? I'm coming to think that only children, who believe themselves immortal, are blessed with time.

I've been working on Brandeis for you. (California is out.) I suspect that [Arthur] Berger still harbors some ancient grudges; but I approached President Sacher directly, and he informs me that he would like you to come for an interview when you are here. At least it's a step.

Deaths are frequent. Felicia's mother died 2 days ago in Chile, & poor F. has been there for an agonizing week, watching her mother die. A nightmare. And yesterday we lost that angelic Nat Prager, our 2nd trumpet player – after 34 years of glorious and uncomplaining service.

Death and spring. I am back with the orchestra again, and love it. The
Kaddish
is still unfinished, and its premiere is now set for December in Israel. I don't know if it'll ever be ready.

I must fly now to conduct. Bless you, & let me know how spring is in Florence.

Lenny

Dear Lenny,

I had a talk with Jack Gottlieb on the phone this evening, and he gave me some of your thoughts on
Structures
. I was struck by the fact that you felt a lack of “rhythmic interest” in this piece, because what I was actually after was an atonal rhythm, or, more precisely, no rhythm.
¹⁰⁹
It is the juxtaposing of various weights of sound which make for the movement, rather than any rhythmic design. This is equally true of
Out of Last Pieces
and is in fact one of the basic ideas throughout my work.

The key to my music is that I want to resolve each piece into one overall color (regardless of how the piece is notated). Because of this, what makes for an “interesting” composition for someone else has no place in my thinking.

That's that – and what are
you
doing these days?

Morty