Four-Way Flash

The brightest young man in the U.S. musical world was just practicing last week. Leonard Bernstein was brushing up on Ravel's Piano Concerto, and getting ready to go on the musical warpath. He was about to leave Broadway--where his rollicking musical, On the Town (TIME, Jan. 8) is packing them in--for a triple-threat appearance with the Pittsburgh Symphony as conductor, composer and piano soloist. Leonard Bernstein can do more things than most musicians and he can do them better.

Last year, when tall, wirehaired, 26-year-old Lenny Bernstein conducted Richard Strauss' Don Quixote with the New York Philharmonic, critics acclaimed him as one of the most gifted of U.S. conductors. When he played the Ravel concerto at a Lewisohn Stadium concert, they had to admit that he was one of the slickest of young U.S. pianists. His Jeremiah Symphony, first performed in Pittsburgh, put him in the first rank of contemporary U.S. composers. His ballet Fancy Free (written in collaboration with Choreographer Jerome Robbins) became the hit of Sol Hurok's ballet season at the Metropolitan Opera House. On the Town topped his year's record for versatility.

Four-ring Musician Bernstein would probably have been equally successful in his father's Boston beauty-parlor supply business. But his Aunt Clara's old upright piano, which was stored in the Bernstein home when he was a child, attracted him first. Lenny Bernstein took to the old upright like a duck to a puddle, went on to major in music at Harvard, where he did his first composing and conducting.

After that, he roamed Broadway unsuccessfully as a would-be songwriter, advertised for piano pupils, taught Ramon Novarro's sister singing at $2 a lesson, finally got a $25-a-week job doing routine orchestrations for the Harms music-publishing house. Summers he spent at Stockbridge, Mass., studying conducting with Serge Koussevitzky at the Tanglewood school. There he caught Conductor Artur Rodzinski's eye, was offered the assistant conductorship of the New York Philharmonic-Symphony.

Lenny Bernstein is somewhat amazed himself at his remarkable musical facility --and a little leary of it. "I don't have any faith in facility," he says. "I think it might turn out to be a handicap in that I might rely on it too much. Things come to me in a kind of inarticulate flash--I don't understand it. It's like an atavistic memory--as though I'd done these things in another lifetime, say, seventy years ago."

While admitting his gifts, critics point out that Bernstein has yet to show any real evidence of originality, that he composes at will in the manner of anybody from Russia's Serge Prokofieff to Cole Porter, but seldom Leonard Bernstein's. His brilliant, ingenious, coldly satirical music for On the Town lacks the heartwarming quality and really first-class tunes that make music memorable.

Bernstein is not yet a Stravinsky, a Gershwin, a Toscanini or a Horowitz. But he is half way toward being all four at once.

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