On the Road and Off the Record with Leonard Bernstein: My Years with the Exasperating Genius-Quality Guarantee

Description

Celebrating Leonard Bernstein’s centenary with an intimate and detailed look at the public and private life of the Maestro written by his former assistant. Foreword by Broadway legend Harold Prince.

“An affectionate portrait of an eminent musician who was driven by demons.”

—Kirkus Reviews

“Harmon’spersonable and warm account of what it was like to work for one of thetwentieth century’s musical giants casts new light on Bernstein and hisworld.”

—Booklist

“Thismultifaceted perspective gives readers plenty of salacious gossippaired with insight into Leonard Bernstein’s remarkable artisticachievements later in life.”

—Library Journal

On the Road isa colorfully written, unforgettably entertaining and unputdownablebook, and is available just in time for LB’s 100th recommended.

—Fanfare Magazine

Leonard Bernstein reeked of cheap cologne and obviously hadn’t showered, shaved, or slept in a while. Was he drunk to boot? He greeted his new assistant with “What are you drinking?” Yes, he was drunk.

Charlie Harmon was hired to manage the day-to-day parts of Bernstein’s life. There was one additional responsibility: make sure Bernstein met the deadline for an opera commission. But things kept getting in the way: the centenary of Igor Stravinsky, intestinal parasites picked up in Mexico, teaching all summer in Los Angeles, a baker’s dozen of young men, plus depression, exhaustion, insomnia, and cut-throat games of anagrams. Did the opera get written?

For four years, Charlie saw Bernstein every day, as his social director, gatekeeper, valet, music copyist, and itinerant orchestra librarian. He packed (and unpacked) Bernstein’s umpteen pieces of luggage, got the Maestro to his concerts, kept him occupied changing planes in Zurich, Anchorage, Tokyo, or Madrid, and learned how to make small talk with mayors, ambassadors, a chancellor, a queen, and a Hollywood legend or two. How could anyone absorb all those people and places? Because there was music: late-night piano duets, or the Maestro’s command to accompany an audition, or, by the way, the greatest orchestras in the world. Charlie did it, and this is what it was like, told for the first time.