Looking Back From the William Davidson Digital Archive of Jewish Detroit History accessible at thejewishnews.com 70 | DECEMBER 28 • 2023 J N A Musical Maestro T 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