Leonard Bernstein’s Moving Letter of Gratitude to His Mentor and a Prescient 1943 Manifesto for Crowdfunding the Arts
By Maria Popova
As a great proponent of the mutual gift of gratitude to those who touch our lives in a meaningful way and a joyful practitioner of sending regular notes of appreciation to these generous people in my own life, I was extraordinarily moved by a letter of gratitude that legendary composer Leonard Bernstein sent to one of his big heroes and mentors, the Russian-born conductor, composer, and Boston Symphony Orchestra music director Serge Koussevitzky. Found in The Leonard Bernstein Letters (public library | IndieBound) — the same volume that cracked open Bernstein’s dreams — the missive is second only to Bukowski’s letter of gratitude to his first patron.
Shortly after taking Koussevitzky’s conducting classes at the Boston Symphony Orchestra’s Tanglewood summer institute in 1940, Bernstein writes:
Dear Dr. Koussevitzky,
Words are a remote enough medium of expression for any musician, but it is especially difficult for me to find words for this letter. Let it be brief.
This summer to me was beauty — beauty in work, and strength of purpose, and cooperation. I am full of humility and gratitude for having shared so richly in it. These last six weeks have been the happiest and most productive of my life. I have been able, for the first time, to concentrate completely on my main purpose, with a glorious freedom from personal problems.
It was a renaissance for me — a rehabilitation of the twisted and undefined Weltanschauung [worldview] with which I came to you.
For your creative energy, your instinct for truth, your incredible incorporation of teacher and artist, I give humble thanks. Seeing in you my own concepts matured is a challenge to me which I hope to fulfill in your great spirit.
In devotion, and in gratitude,
Bernstein eventually became Koussevitzky’s conducting assistant, later dedicating the 1948 Symphony No. 2 The Age of Anxiety to his beloved mentor.
But gratitude alone doesn’t keep a roof over one’s head. In addition to his creative influence, Koussevitzky would also come to impact Bernstein with his convictions about the more tangible ways in which culture at large shows its appreciation to musicians. On May 29, 1943, Bernstein writes in another letter to Koussevitzky:
Reading your letter to the Times … I became inspired all over again; and I was very happy to find that the general reaction to your idea is so favorable and understanding. But who can resist an idea at once so bold and so simple?
The idea he is referring to had appeared in The New York Times thirteen days earlier, in an open letter by Koussevitzky titled “Justice to Composers” — a passionate plea to support creative musicians. Koussevitzky writes:
It is hardly necessary to stress the preeminent place that music holds in our world today — not alone in the world of culture, not alone in the art history of mankind, but also in the daily life of the average man.
What is being done for the composer of our day?
With the turn of centuries, how much has been done for the creative artist to whom millions of past and present musicians owe their true place in life, their happiness and their welfare? Very little — by far not enough. If the present-day composer is not dying of heartbreak and hunger, he has, nevertheless, to struggle along and to earn his living through other ways and sources than his God-given gift: as a composer he cannot make a living. He is forced to go out and teach, lecture, and crowd his days with trifling obligations which kill his time, his energies, his creative art. If his present-day life is less tragic, it is none the less hard, unfair and maladjusted.
Therefore I say the time is ripe to act.
It is no surprise that the plea stirred Bernstein, for he was living the very predicament his mentor had described: Bernstein, who had given up his apartment and was residing at the Chelsea Hotel at the time, confessed in his letter to Koussevitzky:
I go on doing my horrible chores for Warner Brothers in order to live. It is dull beyond belief, and takes much too much time; but I feel that somehow better things must be coming for me.
In fact, Koussevitzky was vehemently opposed to the notion of talented, “serious” composers compromising their creative integrity by doing commercial work catering to popular taste. He actively discouraged Bernstein’s activities as a Broadway composer — indeed, after his 1945 musical On the Town, Bernstein wrote no more Broadway shows until after Koussevitzky’s death.
But what is most extraordinary about Koussevitzky’s letter is that several decades before Kickstarter, Patreon, and other micro-patronage platforms that formalized the art of asking to help support independent creators — the very concept that helps me keep Brain Pickings going — he advocated a crowdfunding solution to the predicament, calling not only on music-lovers but on the community of musicians themselves to chip in:
The appeal for the composer must embrace the whole musical world, reach the musician in every field, the music lover and sponsor, far and wide. It will be a timely and major step forward.
In this great country alone there are many thousands of performing musicians. A small annual donation of $1 each will bring in a substantial permanent income and, with the joint co-operation and contributions of other groups and organizations, will go a long way toward establishing a composers’ fund… Whatever action we take now will lay the groundwork for the impelling and just cause of the composer. Embracing that cause, we shall ascend to new heights, we shall gain in confidence, in self-esteem and in fortitude.
What a beautiful and prescient testament to the idea that “donating = loving.”
Complement the immeasurably absorbing The Leonard Bernstein Letters with Bernstein on motivation and why we create, then revisit Amanda Palmer’s eloquent modern-day counterpart to Koussevitzky’s plea.
Published August 28, 2014