Customer Reviews
Could not put it down! 
1999-08-27
Read this (it seems) in one sitting. Recommended to anyone interested in Bernstein, or in the music of our day.
Sordid and trite 
1999-04-21
Ms Peyser should not be held at fault for showing that this musical genius had feet of clay. However, the book is written from a sensationalistic viewpoint in which the events, while salacious, seem removed from understanding the subject. Reporting that he liked having his toes sucked explained neither his musical talent nor the personal conflicts that made up this man.
It reads like fiction. 1998-10-29
If Ms. Peyser would check her facts and do her research she just might have written a book worth reading.
My Experience Reading Joan Peyser's Bernstein 1997-12-21
Few men's lives rise to the status of a myth. In the biography Bernstein, Joan Peyser describes such a man. Leonard Bernstein, the world famous conductor, the American composer, and the eccentric personality, became a myth. Americans remember Bernstein for his didactic "Omnibus" and "Young People's Concert" television programs, his own "West Side Story", his exuberance on the podium, and his charm. Certainly his greatest contribution was to the music world, but he was not limited to the musical venue; Bernstein brought his music and politics to all in the national and international arenas. "Lenny's" life is a myth because he was known and is remembered for his incredible accomplishments and overwhelming talents. His sweep to glory after stepping in to conduct the New York Philharmonic at the last moment seems almost fairy-tale-like. My personal interests in music, and particularly in the field of conducting, had led me to idolize Leonard Bernstein. Here was a man who had both of my interests, music and politics, and had succeeded in juggling both in a professional career; a man with a Harvard education who conducted the major world symphonies. Why shouldn't Leonard Bernstein be my hero? I decided to read about this man who fascinated me. My discovery in Bernstein was profound. The Leonard Bernstein I encountered was not infallible as we hold our heroes to be. Instead he was very human; an epic hero with many tragic flaws.
Bernstein from the beginning showed genius. At first, I envied his genius as all ordinary people desire instant understanding and fabulous talent. Yet, as I read further, I learned of an ego and irresponsibility equal to Bernstein's genius. Ms. Peyser's biography is not a subjective attack on Bernstein's flaws, but rather a objective compilation of many acquaintance's opinions and impressions and even some writings of the Maestro himself. The author successfully attempts to portray the complete Leonard Bernstein; to every man there is a shadow, but Bernstein's was particularly dark. Bernstein's egotism extended to the point that he would recreate some of his own past in order to invoke sympathy and increased reverence from his followers. The conductor's sexual promiscuity was widely known to his friends in many circles. This shadow of so great a man was one that I did not want to exist. No one wishes to be disappointed by the actions of his hero. The knowledge that the biography provided me led me to question my own morals. Should a man of great talent and accomplishment be held unaccountable for his actions? Does genius or power justify self-absorption?
I say no. Talent, accomplishment, and power are separate entities from moral character. I certainly admire Leonard Bernstein's music, his conducting, and his ability to influence people. His genius, too, fascinates me. Yet this is Leonard Bernstein the myth. Leonard Bernstein, the person, was not a great man. His actions hurt friends, family, his wife, and himself. Bernstein was not the infallible demigod that we want our heroes to be. His story points to a universal truth. The people we idolize most are often some of the worst individuals. Take, for example, our modern national politicians. These individuals in whom we invest our power and trust and who hold some of the most respectable offices in the land, are often morally questionable individuals. While their public actions may be incredible acts of leadership, their private actions may be shameful. Power, fame, and genius do corrupt and it is disappointing that the people we esteem the highest are not held accountable for their actions.
Reading Bernstein was an experience. I instantly became hooked on the biography and could not put it down. Bernstein made me question my own values and my future application of those values. I am very secure with my current morals, but I must uphold my code throughout life. At every level that I reach, I will need to hold myself accountable to the same degree. This can be achieved by trying to achieve balance and perspective in my life. I will be wiser as a result.
I'm taking a middle of the road stand on Joan Peyser's BERNSTEIN: a biography 
2005-11-11
I'm taking a middle of the road stand on Joan Peyser's BERNSTEIN: a BIOGRAPHY. Some Bernstein fans hate this book, as they feel it villified Lenny, talking too much about his alleged homosexual feelings over the years. But there are many references to Bernstein concerts and recordings which are fascinating, discussion of his wife, Felicia Montealegre (who died in 1976), his 3 children; and Peyser's writing style kept my interest and attention to the point where I'd read several chapters at a time, and found it enjoyable.
I hero worshipped Lenny in the early 1970s (I was a teenager then)when first becoming acquainted with Classical music. I enjoyed many of his LPs, which belonged to our local library: Mendelssohn Symphony 5 + Schubert 5 (New York Philharmonic, Columbia); Berlioz Overtures (Columbia); Handel's MESSIAH (excerpts, Columbia); "The joy of Music", a collection of Rossini, Falla, Bernstein, Mendelssohn, Offenbach movements and overtures (Columbia) and checked them out again and again. I used to think Bernstein was the coolest, most classy musician anyone could imagine, and still do in a way. I was heartbroken on the news of Bernstein's death (October 14, 1990 - I was nearly 32 at that time) although I had read reports that he had been very sick about 2 years before his death.
So, is Joan Peyser's book a good book or a poor one? That's for you to decide. I found alot to enjoy in it, but thought she could have lightened up a bit on Lenny: her reports of his personal life made him sound worse than he was. I like to think of Bernstein's warm, humane qualities, and his artistic contributions over all else:Bernstein had great intelligence and a depth of feeling which made him special, plus the tremendous energy and talent to have so many recordings made over his 45 year career.
So, this is worth a read, but I wouldn't take everything in this book about Bernstein's personal life as Gospel.
Biography as character assassination 2005-11-08
[...]At its release, the NY Times accused Ms. Peyser of inaugurating a new genre: biography as pornography. She misses no opportunity to characterize LB's homosexuality as a sordid, dishonest, manipulative affair. Of compassion she hasn't a drop. But Peyser is equally maliciious about admirable episodes like LB's glorious tenure at the NY Philharmonic or his famous Harvard lectures on music in 1971--nothing escape's her bilious outlook.
You would never know from this book that Bernstein was a beloved figure, or why. Peyser doesn't discuss Bernstein's music-making in any detail. She cannot even grant him his stature as a condcutor, and her overall lack of sympathy has given birth to pure character assassination. This is one of the few books, on music or any other subject, that made me want to take the author to court. The sad thing is that Peyser advanced her career substantially by "bringing down Leonard Bernstein." In a better world she would be deeply ashamed.
Some clarity beneath the muck... 2003-03-27
While this much maligned biography may indeed dwell a little too much on Bernstein's personal life (how many times do we really need to be told he was gay? this gets tiresome after awhile...) Peyser does include a wealth of competently researched background on the life of this most American of musicians. If you aren't offended by the cheap and trashy (but rarely explicit) parts, it's worth a read. Keep your nose in joint and take this biography for what it is and you'll probably learn a few things!
This book is TRASH 2000-10-08
This book is one big gossip column about Bernstein 1) being bi-sexual or 2) Bernsteins apparent motivation to constantly undermind other people and turn the focus of anything to himself. Bernstein certianly had an ego, but this book is simply not accurate. In the introduction the author says, "The crevices of character have to e explored as fully as the peaks of achievements to understand...." She certianly explored the "crevices." Instead of spending $18 on this go buy the National Enquirer.
I guess inquiring minds want to know 2000-01-18
The USA Today endorsement of this book neatly summarizes its raison d'etre: 'A spicy Bernstein bio.' If you are seeking all of the outrageous anecdotes, all of the juicy nitty gritty, all of the 'naughty bits' that make up the Bernstein story, then look no further: this book supplies these in abundance.
If, however, you desire any kind of intelligent or intriguing assesment of Bernstien's musical legacy, any discussion whatsoever of Bernstein's music itself, or even any thoughtful, balanced, or interesting discussion of why Bernstein was the person that he was, then you will be sorely disappointed. This is truly a biography in the National Enquirer style.
True, Leonard Bernstein was a self-serving, outrageously flambouyant personality. But so was Mozart, and, while interesting, I certainly want much more from a Mozart biography than explications of his obscene letters.
On example: Chapter 34 ends in 1982, when Bernstein was at work on his last opera, 'A Quiet Place', as composer in residence at Indiana University. Ms. Peyser ends the entire chapter by fully quoting a bawdy limerick that Bernstein apparently sang to the Dean of the School of Music at a party. The limerick, dealing with the size of genitalia, ends:
But you're a goy, And boy oh boy! I'll just betcha it's built for two!
End of chapter. No comment from Peyser. Apparently, the wisdom that she wants to impart to the ages regarding Leonard Bernstein in 1982 was that, at a certain party, he sang a song about the Dean's ying-yang.
This is about as significant (and interesting) as ending a chapter in a Mozart biography by quoting a letter in which Mozart jokes about defecation.
Bernstein and penies. Mozart and ca-ca.
Musicians writing about music?
