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Leonard Bernstein was a prolific correspondent, and this book, apparently, only begins to scratch the surface of the sheer amount of letters available.
What we have here is truly fascinating and gives tremendous insight into the personality and character of Leonard Bernstein, as well as biographical details I had no idea about. All areas of his life are covered, including music, family, fame, sex and more. What emerges is a picture of a true wunderkind whom everybody loved, a people magnet who had many real and strong friendships.
I found the early letters, before he reached his intense fame, to be most satisfying. We are privy to long letters both to and from Bernstein which illustrate the kind of relationships he had and the kind of boy and young man he was. The picture that emerges is very appealing. I was surprised by the extent to which he was, from the start, in close contact with the musical greats of his day. For example, he appears to have struck up a fast friendship with Aaron Copland long before he achieved any notoriety whatsoever. And I was actually shocked to learn that he had an ongoing sexual relationship with conductor Dimitri Mitropoulos, 24 years his senior, while still in his very late teens or early twenties. Maybe I'm the last guy to find out about this, but I had no idea.
There was great enjoyment for me in many of the small details of this book as well. For example I was surprised to read how much he loved "Bolero" as a teenager, based on his letters raving about it. (Later, in one of his "Young People's Concerts", he said he wanted to play Bolero as an illustration of what orchestration is, because "it couldn't really illustrate anything else.")
The later letters shed less light on Bernstein's inner life, but are still quite fascinating. To (over)generalize, later in his life a lot of the letters are from people who want various things from him, such as the opportunity to perform with him. For example, Harpo Marx asking if he could come on a "Young People's Concert" to conduct Haydn's "Toy Symphony", or Dietrich Fischer-Dieskau asking if he could sing Kurwenal in planned "Tristan" performances, or a letter from a 10-year-old Yo Yo Ma saying he'd be happy to play concertos with Bernstein. These are all fascinating in their own way and highly entertaining, although the substance of Bernstein's personality tends to shine through a bit less as the book becomes more filled up with correspondence of this type.
His correspondence with his wife, Felicia, is particularly hard-hitting, for example when she lays on the line that he is "a homosexual and may never change" but is willing to accept him as he is. Their relationship is one of the most touching aspects of the book, and Bernstein's love for his wife never seemed to me to be in doubt despite the sexual and fidelity problems later on.
Based on the editor's description of the sheer amount of available correspondence to and from Leonard Bernstein, perhaps a more accurate title for this book might be "The Leonard Bernstein Letters: Volume 1". It seems likely to me that there will be more if this book is successful.
I would not regret that. This book is a satisfying read that enriched my familiarity with Leonard Bernstein the musician and Leonard Bernstein the man a hundredfold. That is in part because I knew so little about him to start, but also because the correspondence included here paints such a vivid portrait. I'm sure it's not a complete one, but I feel it is a terrific start. Highly recommended for anyone who wants to get a taste of Bernstein's personality, and above all the love and emotion he could inspire in others.