The Leonard Bernstein Letters (29 page)

Dear Jerry,

Your description of the state of the Ballet Theatre sounds gruesome. Don't take it too seriously, and get some sleep. (I should talk.)

I've sent the prints of III & IV off to you. I finally got them in ink: but I still am not satisfied with the end of III. It will have to be changed eventually, but it won't make it too hard for you, will it?

I'm working on the second (relaxed) section. I think finally I've got the idea. It's rather suspended in feeling, with little interruptions of staccato rhythms punctuating slow woodwind phrases. Also, the little dotted tune in No. III (“Much faster”) will be introduced in this section, as a kind of hot pants feeling. So, you will have, in general, a slow, slightly tense, slightly serious section, but lyrical, perfumed by these little rhythmic urgings in the balls.

I know you can do fine with it. Does it fit with your plans. (It's all thematically related to the opening dance.) Incidentally, I'm stretching the opening dance a little by adding a little section of about 15 seconds. It makes the form more telling.

I've also decided to give the piano quite a solo role. It grows more & more important all the time (it never remains alone for more than a few measures); and seems to be the auditory key to the ballet – since a piano gives the feeling of percussion, brazenness, hardness, brightness, honky-tonkness, clarity, and intimacy. Don't you agree? How does a solo piano sound at the Met?

I heed heartily your pleas for simplicity. The score actually is very simple – only the rhythms have to be concentrated upon like fury. There's no simplifying the rhythms – they're there, & they're the essence & basis of the whole score – but the notes will be very easy. I think it can be done. We can only pray. Nay, I know it can be done.

We'll be good. If we worry enough, it's got to be a smash. Wish you were back in N.Y. It would all go much faster.

About that radio. It's a problem. You see, the song on which IV is based cannot under any circumstances come just before the pas de deux on the radio. The song itself and its completion in IV must be separated (preferably by the transition before it). Can we have the song sung at the end of III (the radio having been turned on during III, as indicated in the print), and proceed directly to the transition? I mistakenly indicated the Radio
after
the transition, which is just where I
don't
want it. It seems simple enough. Is it OK?

No completed Variations yet. Soon, soon. Grace of God, Moses, & The Società Filharmonica. I'm to meet Toscanini on New Year's Day, & I'm being very Italian these days. Bless you, & write.

Love,

Lenny

Dear Lenny,

Will you be a sweet boy and send me Adolph's address in Cal.? have a sudden yen to write to him. I heard the Clarinet Sonata on records and feel moved to give you the following criticism – unasked for though it may be – as an honest human being and a conscientious composer it would seem that you should not be satisfied with your music until it has a little bit of the real Lenny in it – and not just a rehash of Hindemith and Copland.
¹⁴⁸

Of course I haven't the vaguest idea of what has happened to the real Lenny and even if he exists any more.

But if you would only be your own severest critic and not let anything you write go out for public consumption until you are sure way down deep that what you have written is truly worthy of you and that is music that is really music and not trash.

My god Lenny why don't you listen to a few Beethoven quartettes – and perhaps you will find in them the true meaning of artistic integrity.

I hope I don't seem too harsh – but it makes me sore as hell that there is perhaps something deep down inside you that is honest, sincere, and good that the you outside ignores. And Lenny, believe me when I tell you that although you are headed for a brilliant career, it will never be a great one. Your driving ambition to be the most versatile creature on earth will kill any possibility of you becoming a truly great artist in any one of the talents you possess.

Think hard, Lenny, bore way down deep into yourself and find there the courage to be honest. Is your mission in life to be the greatest of all dilettantes??

If you have a real contribution to make Lenny, you must find out now what it is. Concentrate and work and make it a great thing – and don't write clarinet sonatas that make any serious musician think you an utter fool – it's not fair to yourself because you're not really an utter fool.

And I say again, listen to lots of late Beethoven, play the sonatas often. Understanding Beethoven can teach you more about the things you must learn than anyone can possibly tell you.

Of course there is no reason why anything I think should impress you greatly, and when I tell you that at present I have little respect for you as a person and an artist, you can think “she's a little fool” and with perfect right – but Lenny, despite all I still have a vague sentimental attachment for you, and remember good things about you that seem completely lost now – and I do wish the very best for you, and sincerely hope that somehow, some way, those good things in you might aid you in becoming something truly worthwhile.

And please send Adolph's address for which I thank you in advance.

Shirley

P.S. Good luck for Pittsburgh.

Dear Serge Alexandrovitch,

Here I am, finally, in Pittsburgh. I am excited beyond words at hearing my symphony. I must say that to me it sounds just as I thought it would. The orchestra is rough, but in a way like the Tanglewood orchestra – full of spirit, young, and cooperative to a great degree. I am having a marvelous experience here. Even the scherzo is
almost
perfectly played – but for a real performance we must wait for the Boston performance. I have had to make surprisingly few changes. And the
Firebird
is a real, fiery, Tanglewood performance.

Have you been reading about the mess in New York since I left? They phoned me here Monday to return for the Tuesday rehearsal, but it was impossible. Then Byrnes [Harold Byrns] rehearsed
Rosenkavalier
, and made a mess of it; so it came off the program – and Hans [William] Steinberg will conduct. I derive great satisfaction from it all – it feels wonderful to have the Philharmonic really dependent on me.

Jennie Tourel is here, and sends love and kisses. She sings the symphony like an angel. It's really heartbreaking.

Reiner is being very kind and helpful. He sends you his warmest greetings; and he suggests that the greatest triumph over Mr. Rodzinski would be to bring the symphony to New York with the
Boston Symphony Orchestra
!! (He specifically asked me to tell you this!)

My love to you; and keep well until I see you again.

Love to Olga.

Lenushka

Dear Jerry,

II is finished, and should reach you very soon. It's much shorter than we had hoped, but it doesn't sustain. It's difficult to be bored for a long time on stage, & not bore the audience too. (This is
musical
talk again.) At any rate, it provides all the chances you need for pantomime, gum, drinks, or peanuts. And it is constructed so that it can be easily changed around to suit your timing. When you get it, cross out the last measure (unfinished) of page 10, & proceed to page 11. You will notice that II is really part of I. I think the connection to III is a knockout. I changed my mind from dying out of II to a recurrence at the end of it of the excited opening material, giving the feeling of Let's
Do Something!!
And at the least expected moment the girl arrives. I think you'll agree when you hear it. I don't think that the introducing of “Much faster” in II will hurt: when it appears in III it's all different. I'd like to cut a few measures of it, tho’, in III; and have changed the tempo mark to “Somewhat faster.” God I wish you were here. It's so hard to write about these things. Be good, though, & happy, & like the stuff as much as I do.

Love,

L

(There's a phrase most Aaron-like in II – I hope you don't mind. It's so pretty I can't remove it.)

Dear Jerry,

It's awfully hard for us to keep up with each other. I've had a flood of special deliveries that appall me. Jerry –
everything
has gone out to you from #1 to #4 inclusive! Why don't you have it? And I sent two copies for you, keeping three, but apparently [J. Alden] Talbot kept one en route. Henceforth I'll send three – one for Talbot.

I'll do everything possible to get recordings to you pronto. It's next to impossible to find the time, but I'll do my best. I can certainly sympathize about the pianist; it's hard to play anyway, apart from the special jazzy style. Wait till he tries number I!

Keep up the spirit. It's gonna be fine. And I'm in the thick of the Variations. And actually with ideas.
And
please like #II!

Love,

Lenny

Dear Jerry,

Slow, slow, but sure. Number 5 is done and being shipped. It's true enough connective tissue, à la movies, and ought to come off. It's more or less all development of the competition motive, with some of the music of Girl #1 to use (during the rotation) for the conspiring of the two girls.

The pauses at the beginning indicate nabbing the exiting pas-de-deux couple, and indecision about the situation. (Rotation.) Then the competition comes in earnest, developing, through a scherzo-like section to a “dancy” section, by which time I imagine them on the dance floor! In the last measure a snare drum rolls, fortissimo, continuing beyond the music as a lead-in to the first variation (à la circus). I think it works.

My only worry is that it may all be too short (don't forget the repeat! It lasts about 2 minutes). If you need more build up, let me know. I'm leaving tonight (Feb. 28) for Montreal, Canada, where I conduct the Montreal Symphony. I stay until Mon. 8th. Write me at
The Hotel Windsor
, Montreal.

At last, it begins to take shape. I can't wait to finish it. I plan to begin orchestrating in Montreal. Has it occurred to you (as it has to lots of composers, etc., for whom I've played it) that this could be a wow for two pianos alone (with maybe percussion?). It would save much time, rehearsal worries, difficulty of performance, and so on. Billy Schuman thinks it's a natural, & predicts that the orchestration will be very difficult. I only
suggest
this – you can throw it out of the window. But let me know.

I've just spoken to Hurok. The dates are settled – April 18, 22, 24. We'll talk about rehearsal schedules later. I hope it will be orchestrated in time! Pray for me.

These are hectic times. When I return from Montreal I have three concerts with the Philharmonic, including my symphony (alas, no broadcast!). Then, boom, the ballet. I'll be a wreck, but I hope a happy one.

And you take care of yourself too. We need one healthy guy in this project.

Love,

Lenny

There's much more, of course. To answer your letter:

1) I'm making the rhythms as simple as I can. The music more or less depends on them, and they can't be scored any more simply. It has to be – and I think it's all feasible enough. (A word for
two pianos
!)

2) I love your description of #1. It surely can be played a little more slowly, if you need it. I raced it in recording.

3) About the two extra bars on page 6: if you need them, OK; but it makes awful music. Maybe we can straighten it out in N.Y. at the last minute.

4) About the ending of #2: Throw it out. It's not necessary, and I see your point. It's very easily fixed; and I used it at the beginning of #5, where it works much better. Do you want the revised ending immediately?

5) I don't see how #3's beginning can be extended. Is it
absolutely
necessary? It gets so dull. If worse comes to worse, OK; but try to avoid it.

6) In “much faster” (changed to “somewhat faster”) it's perfectly OK to extend those contrapuntal bars. Just double them. And a slower pace is OK.

7) On the pas-de-deux, repeat anything you want. (But use the extra bar as it was used at the beginning.)

8) On Variation 2 (which turned out very pretty, and as Aaron says, “dancy”) the feeling is mostly sweet plus cocky. Your idea, I think. And change the last chord (it's too sour). The left hand should be:

This chord represents a sort of ballet-ish
bow
(or male equivalent of curtsey).

There remains only your variation, which I'm saving for last, the Lindy hop & fight (oy!) and the gag finale. Not too bad. I hope to have it. I hope!! I hope!!!! Again, pray, & be good in the bad West.

Love again

L