Looking Back

From the William Davidson Digital Archive of Jewish Detroit History

accessible at thejewishnews.com

70 | DECEMBER 28 • 2023
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A Musical Maestro
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here are many famous Jews, but every now and then, a Jewish American
has risen to global fame. In the 20th century, for example, Louis Brandeis
(1856-1941) was a legendary jurist. A naturalized American and one of
the most influential scientists in world history, physicist Albert Einstein (1879-
1955), is on the list. Indeed, Einstein may be a household name (even as a com-
monly used phrase to chide someone’s forlorn ideas — “OK, Einstein”).
In music, the most prominent of them all is Leonard Bernstein (1918-1990).
No disrespect to greats like Aaron Copeland, but when it comes to
possessing a vast range of musical skills, Bernstein is in a class by
himself. He composed acclaimed symphonic pieces as well music
for theatrical productions such as West Side Story and On the Town.
Bernstein wrote scores for memorable movies such as On the
Waterfront, and he brought music to new generations through his
Young People’s Concerts, a national television series with a 14-year run.
Along with a flamboyant personality and a conducting style that was high theater in and of
itself, Bernstein left an indelible mark on American culture.
Recently, Maestro, a film about Bernstein starring and directed by Bradley Cooper was
released in American theaters and on Netflix. Much of the movie’s focus is upon the relationship of
Bernstein and his wife, Costa Rican actress Felicia Montealegre. And, when in production, there was also
great controversy over Cooper’s use of a prosthetic nose as he portrayed Bernstein, who did have a distinc-
tive — regal, perhaps? — schnoz.
Regardless of nose and movie critiques, I was interested in Bernstein’s con-
nections to Detroit and Michigan. The pages of the William Davidson Digital
Archive of Detroit Jewish History showed the way. Bernstein is cited 718 times, beginning in the Sept.
17, 1943, JN, when a small item announced his appointment as assistant conductor at 25 for the New
York Philharmonic; he became its music director in 1958. Interestingly, as tribute to his enduring
influence, Bernstein was mentioned nearly 200 times in the JN after his death in 1990.
Bernstein was deeply connected to Detroit and Ann Arbor, where he appeared many times as a
conductor and artist. Beginning in the 1940s, Bernstein conducted the Detroit Symphony for several
concerts and continued to come to Michigan thereafter. He conducted the New York Philharmonic
at Oakland University’s Meadow Brook Hall in 1986. His last local performances happened when
he conducted the Vienna Philharmonic at the University of Michigan’s Hill Auditorium in 1987 and
1988, the latter occasion while on his 70th birthday tour.
There are plenty of stories in the JN about his music being taught in schools or
released on new CDs, and books about his life. A few articles
stood out. For example, Bernstein was first featured in a biograph-
ical article in the Aug. 25, 1944, JN. A month later, “Hats Off,
Gentlemen, a Genius! Leonard Bernstein, 26, To Conduct Here
[Detroit]” was published (Sept. 14, 1944). Suzanne Chessler wrote
“Remembering Lenny” about the reflections of Burton Bernstein
upon his famous brother (July 31, 2008), and “Sophisticated Music”
about a new CD of Bernstein’s jazz stylings (Jan. 28, 2021).
In the end, whether the movie Maestro gets Bernstein right really
doesn’t matter. The musical legacy of Bernstein, “The Maestro,” will
live forever.

Want to learn more? Go to the DJN archives, available for free at thejewishnews.
com.

Mike Smith
Alene and
Graham Landau
Archivist Chair