The Leonard Bernstein Letters
Page 16
We are all “dovening”54 for you here at Rabbi Hanson's55 Schule.
I have had no repercussions, at least not negative ones, about anything that happened in N.Y Lenny. None, do you hear me – none. I never felt better, see.
Today I rendered at the console – piano exam – McHose56 – Head of department decided to wean me on Haydn symphonies. So my first score reading at the pianoforte begins. Hope I am up to it. I dazzled him with a Haydn sonata – worked up a fever pitch in 7 days. Also I am to learn accompaniments to clarinet repertoire (pronounced repertwa with a little soft palate thrown in). An excellent idea. Horn players learn horn accompaniments etc. So when we teach we can drown out our little aspiring bastards – if there is a piano in our attic.
You can contact Jack c/o Eastman School of Music. I can't recall his home address now.
I am in a strange relation to Mad now – very complex and to be told about in detail with you in N.Y.C. and incidentally, I refuse to copy a note or draw a single line in N.Y. Understand!!! I have a copying pen and some ink and I practice on every orchestration paper I turn in. I am doing lots better. You would be proud, Leannish.
How is Edys?57 My best to her. In the short time I knew her I became very attached to her.
It was awfully good hearing from you, son.
Dave
[Musical quotation enclosed on a slip of manuscript paper]:
What is this? – been on my mind for weeks.
121. Leonard Bernstein to David Oppenheim
15 West 52nd Street, New York, NY
[before 14 February 1943]
“Dear Len – Terrible and wonderful things have happened to me since I saw you in NY.”
Me too. And almost the identical symptoms, for the identical length of time. Fantastic. More about it in a separate letter.
Thanks, anyway, for the case history. I was getting worried. The Frau has heard it all.
The 6/8 theme (the “lousy theme”) is, i'faith, from a Mendelssohn Trio, I think. Check on it. D minor probably.58
And will you be in NY for the 14th? Just say it, so I'll know.
And did you take the 6 Pieces back to the Northwoods? […] They are nowhere to be found. Are you copying them? Is the Cl. Sonata being copied? Sorry to trouble you with these worldly problems now, but they're reality aren't they?
The Frau says she now has a superficial report from the Rohrschach (first time I ever wrote it) test, but that the main, detailed job lies ahead. She says that it's full of revealing and fascinating ideas and facts. She is drawing up a paper for you – prefers not to write you – so you must come down and hear about it.
I can never tell you on paper what I went through yesterday. It was the most formidable day of my life. I'll wait till you come. Bless you in your emotional trials. Best to Mad.
And love to you,
L
122. Leonard Bernstein to David Oppenheim
15 West 52nd Street, New York, NY
[early 1943]
Dave,
This is one of those letters that the OPA59 or WXQR60 would list as “non-essential”. But I'm all full of strange mixed feelings, and you've been elected to receive them, willy-nilly. Brace up, boy, they're wild! All having to do with petty ridiculousnesses (!) like having had to sit with a fuming but empty lyric writer named Eddie DeLange, while he burst his stolid head trying to get a lyric to the tune I stole from the [Brahms] Double Concerto. He finally came through with a little horror called “Exactly As You Left Me” (That's How I'll Beee When You Retoin), which nauseated me so that I tore homeward to find a little peace & do a little work, only to find that the apartment had been invaded by a small army of plumbers, wreckers, carpenters, et al, who have orders to remodel the apartment, break down walls, rip out waterpipes, put in walls, put in doors, etc., for a whole week, without any warning. Christ. The noise. The dirt. The lack of walls. And of water. It's a panic. All of which leaves with only one resort – to write a non-essential letter to Uncle Dave, and get some Peace by Proxy.
Are you serene?
Do you feel jittery when walls fall around you?
Do you get peevish when you see the bathtub on its side?
Take Oppenheim's Little Love Tablets.
Delicious to chew slowly!
Nibble your Neuroses away!
But tonight is better. I played a wow concert at the Stage Door Canteen,61 and they screamed for more, and I gave autographs, and was fêted by three Australian airmen who represent a fresh, new beauty in the world. I wish you could have talked with them, heard their eternal-young speech, seen them getting drunk on milk. All with a tranquil and unconscious bravery that surpasses heroism – they leave for the raiding-grounds tomorrow.
Be good to yourself: work hard, stay healthy, and God, man, keep away from that Army – wonderful Dave.
L
123. Aaron Copland to Leonard Bernstein
Samuel Goldwyn Studios, Los Angeles, CA
[February 1943]
L–P–,62
Now I'm in your class. I have a desk, a phone, stationery, – even a Steinway baby grand. The metamorphosis is awful sudden. Actually I'm back on the old lot near the big gas tank where I wrote Our Town. Everyone seems very pleased to have me around – even including the Big Boss, Goldwyn himself. I may even be writing some songs with Ira Gershwin as lyricist. (All subject to change, of course.)63
Anyway, I'm here. Holy Wood is surprisingly the same as when I was here almost 3 years ago – outwardly, I mean. There are even the same extraordinary young men with wavy hair and impeccable complexions who used to be on Hollywood Blvd – still around. I wonder how they escaped the Army. And there's plenty of the Army too. Well, it's a fantastic city.
I'm not settled yet – just in a hotel. So maybe it's a little early to invite you for a weekend or a year. I must say it's relaxing to get away from N.Y. – even tho my conscience pains me no end when I think of all my skipped responsibilities.
I hope you're writing me voluminously. But don't forget who your real pal is ——> ME
124. Aaron Copland to Leonard Bernstein
Samuel Goldwyn Studios, Hollywood, CA
13 February 1943
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
125. Leonard Bernstein to David Oppenheim
15 West 52nd Street, New York, NY
[February 1943]
Dear D,
Just received word from WNYC65 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 pla
y 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
126. Leonard Bernstein to Renée Longy Miquelle
15 West 52nd Street, New York, NY
20 February 1943
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
127. Aaron Copland to Leonard Bernstein
Samuel Goldwyn Studios, Los Angeles, CA
Sunday [21 February 1943]
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
128. Leonard Bernstein to David Oppenheim
New York, NY
postmark 25 February 1943
Dave,
Excuse this ridiculous card70 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
129. David Oppenheim to Leonard Bernstein
[Rochester, NY]
2 March 1943
Dear Len,
When I got back from N.Y. I played the Sonata records71 for Rogers72 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].
130. Leonard Bernstein to David Oppenheim
New York, NY
postmark 5 March 1943
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 Rodzinski73 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 Doubt74 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
131. Leonard Bernstein to Aaron Copland
15 West 52nd Street, New York, NY
[late February or early March 1943]
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 Serenade75 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?