The Leonard Bernstein Letters Read Online Free PDF Page B

it is potentially interesting. The subject is Nationalism in American music – presumably a nonentity but on the whole a vital problem. We've talked about it once or twice. You said, “don't worry – just write it – it will come out American.”
    The thesis tries to show how the stuff that the old boys turned out (Chadwick, Converse, Shepherd, Gilbert, MacD[owell], Cadman etc.) failed utterly to develop an American style or school or music at all, because their material (Negro, American Indian, etc.) was not common – the old problem of America the melting pot. Having ruthlessly revealed the invalidity of an Indian tune surrounded by Teutonic development, etc., I will try to show that there is something American in the newer music, which relies not on folk material, but on a native spirit (like your music, and maybe Harris’ & Sessions’ – I don't know), or which relies on a new American form, like Blitzstein's. Whether this is tenable or not, it is my thesis and I'm sticking to it.
    Now how to go about it? It means going through recent American things, finding those that sound, for some reason, American, and translate that American sound into musical terms. I feel convinced that there is such a thing, or else why is it that the Variations sound fresh and vital and not stale and European and dry?
    This is where you can help, if you would. What music of what other composers in America would support my point, and where can I get hold of it? Would the music of Harris? or Ives? or Schuman? or Piston? or [Nicolai] Berezowsky? You see, I know and hear so little American stuff. This is my great opportunity to get to know it well, and find out something about it. I feel more and more that there's something to all this, and that it can be told in terms. I'll be infinitely thankful for any suggestions.
    Again, thousands thanks for the Second Hurricane – it's just swell.
    Always,
    Lenny
    28. Leonard Bernstein to Kenneth Ehrman 32
    Eliot E-51, Harvard University, Cambridge, MA
    6 December 1938
    It's wonderful, Ken, the way you lack enthusiasm when it's more or less expected of you. Hello. A dull thud – that's the way your letter read. 500th crossing, and all that – trip is really as can be expected.
    But it was very good to hear from you, all wrapped up in your mauve-lined Parisian envelope. […]
    Everything is almost O.K. You ask after the Advocate 33 competition – I won. I am now proud possessor of all manner of records. As for the Birds – I won that too, and am busy as a bee on the composition and orchestration thereof. As for courses, I am fuguing and advance orchestrating and thesising, and another half next half (what am I saying). [Tillman] Merritt hates me, but Mother loves me. [Walter] Piston doubts me, but Copland encourages me. I hate the Harvard Music Department. You can quote that. You can even print it if you want. I hate it because it is stupid & highschoolish and “disciplinary” and prim and foolish and academic and stolid and fussy. I want to go home. 34 […]
    Toujours –
    Bernstein
    29. Aaron Copland to Leonard Bernstein
    Hotel Empire, Broadway at 63rd Street, New York, NY
    7 December 1938
    Dear Lenny,
    I know I'm late in answering but I've been swamped with things to do and your letter asked so many questions!
    Aren't you coming down to N.Y. during Christmas holydays? And since it would be so much better to do this viva voce than by letter, could it wait till then for my grandfatherly advice?
    You sound as if you were very much on the right track anyhow both as to ideas and composers’ names. Don't make the mistake of thinking that just because a Gilbert used Negro material, there was therefore nothing American about it. There's always the chance it might have an “American” quality despite its material. Also, don't try to prove too much. Composing in this country is still pretty young no matter how you look at it.
    Good luck and let's hear if you're coming down.
    Consider yourself