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Working with Bernstein Hardcover – May 15, 2010


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Product Details

  • Hardcover: 372 pages
  • Publisher: Amadeus Press (May 15, 2010)
  • Language: English
  • ISBN-10: 1574671863
  • ISBN-13: 978-1574671865
  • Product Dimensions: 6.2 x 1.1 x 9.1 inches
  • Shipping Weight: 1.6 pounds (View shipping rates and policies)
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #710,500 in Books (See Top 100 in Books)

Editorial Reviews

About the Author

Jack Gottlieb is a composer who has written for the concert hall, the theater, and the synagogue. He was Leonard Bernstein's assistant at the New York Philharmonic. He is the senior member of the Leonard Bernstein Office, the editor of three Bernstein books, consultant for the Bernstein estate, and an editor of the Bernstein newsletter, Prelude, Fugue, and Riffs.

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Customer Reviews

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16 of 16 people found the following review helpful By Philip Miller on June 14, 2010
Format: Hardcover
Almost forty years ago, when I first met Jack Gottlieb, I heard that he had some connection to Leonard Bernstein but nothing specific. I also saw from his interactions with others that asking the even slightest question about Bernstein would annoy, even anger him, for Gottlieb was fiercely protective and respectful of LB's privacy and that of his family. (That said, if he did volunteer a tidbit of information in the course of a conversation, one was smart not to dwell upon it.)

Often referred by others to as Bernstein's "assistant," he was, as one learns in reading this book, a whole lot more, for this is a highly personal memoir of Gottlieb's decades-long professional and personal association with one of the giants of Classical Music in the last half of the 20th century.

The reticence is over. Gottlieb unabashedly goes into fascinating detail about the Maestro, his quirks and foibles, his colleagues, friends, etc. But it is hardly a "tell-all" pot-boiler, for there is nothing seamy, seedy, or sordid in his reportage. Referring to diaries Gottlieb kept at the time, one gets a portrait that is respectful and not fawning.

The photographs from Gottlieb's own personal archive are a fascinating record of the whirlwind that seemed to accompany Bernstein wherever he went or did.

The style might strike some as too colloquial, but with Gottlieb, what one sees (or reads), one gets. He is inordinately fond of word play (a habit only attenuated by Bernstein, who was a master of the "bon mot"), dear reader, so be forewarned.

The book is comprised to two parts: (1) Gottlieb's working life with Bernstein, from ill-defined "assistant, to "Man Friday," and ultimately Bernstein's editor.
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9 of 10 people found the following review helpful By Michael Isaacson on September 4, 2010
Format: Hardcover
A Midrashist to a Musical Giant

Working With Bernstein
By Jack Gottlieb

A Review by Michael Isaacson

While reading Working With Bernstein, Jack Gottlieb's fascinating and engrossing history of his professional relationship with Leonard Bernstein, I kept thinking of the writings of rabbinic midrashists, both halachic and aggadic. Would our understanding of primary texts of the Bible, Prophets, and Writings be as rich without the analytic insights, explanations, and narrative appendices of Rashi, Rambam, or the Gaonim?

Leonard Bernstein's musical productivity was astounding, a shining model for us all, but would his achievements have been as sui generis without the often unattributed contributions of his devoted staff of assistants, secretaries, agents, business managers, researchers, annotators, lyricists, and orchestrators in the background?

Gottlieb served many of these support functions and was in the picture from the early days at Brandeis University through Bernstein's death (a most touching recounting). His allegiance was more than dedicated, it was a faithful bond that often surpassed the collegial, familial, and, yes, even midrashic. Today, Gottlieb serves perhaps an even greater function as the Bernstein family's ad hoc mayven on all things pertaining to the Maestro. His articles for the Amberson office's Prelude Fugue and Riffs (an ongoing account of Bernstein's enduring musical contribution) never fail to elevate, and educate.

This is not to say that all was idyllic. There is a smaller book within this authoritative recounting that might be subtitled Working For Bernstein.
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5 of 5 people found the following review helpful By Thomas Martin on January 17, 2013
Format: Hardcover Verified Purchase
I was hoping that Gottleib would have spent more time, and spoke in greater detail, about LB's last years recording in Europe. Bernstein's reputation AND legacy, IMHO, were damaged by the slew of absolutely horrible recordings he made there (Elgar, Sibelius, Tchaikovsky, Brahms and, to some extent, Mahler) in the mid-to-late 80s, coupled with DG's shameless packaging and repackaging of those recordings (and others) under every conceivable moniker imaginable after his death.

In a world populated by syncophants, I had hoped that someone would have tried to take the Maestro aside and question him sharply about his turgid interpretations and wilful choice of tempi (maybe someone *did* but, perhaps, Gottleib didn't know, or didn't want to talk about the circumstances behind those conversations).

And I continue to wonder if Bernstein's taffy pulls with tempi, slowing them down, almost to the point of stasis (Elgar's "Nimrod" variation, for example Elgar: Enigma Variations), was a side effect of declining health, or a misguided belief that slower = great depth and profoundity? Or worse, boredom? As a celebrated composer himself, I can't help but believe, that Bernstein would have been outraged if another conductor treated *his* scores the way he treated many composers in this final phase of his recording and performing career. Very sad.

A fairly interesting book, but nothing like what it could have been.
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