Coda

The project for this book began with the author’s accidental discovery of Kazuko Amano’s and Kunihiko Hashimoto’s letters in the Leonard Bernstein Collection at the Library of Congress. Subsequent research in various archives and corresponding with and meeting the two individuals, in Tokyo and Sydney, respectively, took her on an unexpected journey as a scholar and a writer. In this coda, the author reflects upon her findings and the research process, as well as the portent of correspondence, especially handwritten letters sent through what is now colloquially called snail mail that shaped Amano’s and Hashimoto’s special relationship with Bernstein.

Exploring the Uncharted

In the late 1980s, the Amberson staff began exploring the possibility of Bernstein touring China with the London Symphony Orchestra (LSO) to work with young Chinese musicians. While building a relationship with the Chinese government officials required a great deal of diplomatic skills, realizing the tour demanded financial resources unavailable in China. After much careful negotiation, the organizers secured the sponsorship of Japan’s Nomura Securities and presented a strong proposal to the Chinese officials. All of the complex planning came to an abrupt halt with the Tiananmen Square Massacre on June 4, 1989, which caused the organizers to cancel the China portion of the project. Bernstein’s dream of working with Chinese students and sharing music with Chinese audiences was shattered by political and military suppression.

Representing Lenny

Compared to the frequency of Hashimoto’s letters in the first few years of their relationship, his correspondence with Bernstein became much more sparse after he joined the Shiki Theatre Company in 1982. However, this did not reflect his weakening ties with Bernstein. Quite to the contrary, during Harry Kraut’s visit to Japan in the summer of 1984, Kunihiko Hashimoto served as his assistant and was subsequently appointed as Amberson’s Japan representative. No longer just a young man in love with Bernstein, Hashimoto was now a trusted professional working to realize the maestro’s goals. Beginning in the fall of 1984, Hashimoto worked to prepare for Bernstein’s Hiroshima Peace Concert to be held in August 1985, originally conceived by Mitsunori Sano.

The Maestro Pivots

With the arrival of Harry Kraut, Leonard Bernstein’s company Amberson entered a new phase of corporate enterprises that extended the maestro’s reach even further across the globe. Ironically, the enormous commercial success of West Side Story, the most American of Bernstein’s works, began to cause problems with some stakeholders, and Bernstein began to gradually pivot to the European market for publishing, recording, and films and videos. Bernstein joined the roster of the recording artists of Deutsche Grammophon upon the end of the contract with Columbia Records. The pivot exemplified the changes in the American music industry in the 1970s which made it increasingly challenging even for a musician of Bernstein’s caliber to conduct business in a way that was true to his artistic goals, economically sustainable, and culturally meaningful to a wide audience.

Growing Pains

Leonard Bernstein conducting the inaugural concert of the Philharmonic Hall in Lincoln Center for the Performing Arts in 1962 symbolized the national and international status he had achieved. Through his close relationship with the Kennedy family and his continued ties to the White House, combined with his unrivaled place in the world of the performing arts, Bernstein was a prime candidate to lead the John F. Kennedy Center for the Performing Arts. To manage the ever expanding scope of his work, Bernstein’s company, Amberson Enterprises, professionalized and corporatized its operations under Schuyler Chapin. But the popular leaning of the recording industry was beginning to cause some issues even for the foremost leader of American classical music.

An American Icon Crosses the Pacific

Leonard Bernstein’s early career was shaped by the global politics of World War II and its aftermath as well as his interest in the world beyond the United States, his understanding of war, and his dedication to peace. It was also propelled by the United States government’s investment in his background, qualities, and success in its war effort and postwar public relations. The initial encounter of Kazuko Amano (born Ueno) with Bernstein was enabled by the cultural policy of US occupation forces. After her initial fan letter to Bernstein in 1947, she followed his rising career through recordings, broadcasts, and performances and became Japan’s most loyal fan of the maestro, who quickly became an American icon with his appointment as the music director of the New York Philharmonic and the huge success of West Side Story.

The First Harvest

At the Pacific Music Festival (PMF), Leonard Bernstein poured all he had into communicating the rigor and joy of music making with the young musicians from around the world. Despite his serious health issues, the peace and quiet at the Nidom, a brand new resort surrounded by natural beauty, and the company of his musical family provided remarkable healing power for the maestro. The concert on July 3 at Sapporo Shimin Kaikan was a highlight for the young musicians of the PMF Orchestra, culminating in their performance of Schumann’s Symphony no. 2 conducted by Bernstein. During the festival, Kunihiko Hashimoto attended to every need of Bernstein and his entourage and played a central role in realizing the maestro’s dream in Sapporo.

Turning Point

Kunihiko Hashimoto’s correspondence indicates that he relocated to Sydney, Australia, at the end of 1987. Although the reasons for his decision are unknown, he had apparently begun a whole new life. The following year, Bernstein’s seventieth birthday celebration was held at Tanglewood, Massachusetts. Among the Japanese names on the invitation list, most of whom were the maestro’s musical colleagues or business partners, were Kazuko Amano and Hashimoto Kunihiko. But there was a striking contrast between their places in the festivities. Amano made the long journey to attend the celebration despite her health concerns, whereas Hashimoto did not travel to Massachusetts and sent a card and a gift instead.

A Summer of Prayer

Leonard Bernstein arrived in Hiroshima in August 1985 to conduct his peace concert to commemorate the fortieth anniversary of the atomic bombing of the city. Bernstein, the musicians, and the organizers had to carefully navigate the local, national, and global politics surrounding the commemoration. While demonstrating his deep understanding of the complexity of the issues, Bernstein spoke vocally for nuclear disarmament and also formed a personal bond with the young musicians and the audience. The three Japanese people he had the closest relationship to--Seiji Ozawa, Kazuko Amano, and Kunihiko Hashimoto--were all in Hiroshima to witness and share in Bernstein’s prayer for peace, and each found new ways of expressing their love and dedication to the maestro.

New Beginnings

After her husband’s passing in 1979, Kazuko Amano began working for a publishing company. Her international business trips allowed her to visit Bernstein at his home in New York for the first time and also attend his concerts in Europe. Amano’s new sense of self gave her a new understanding of and appreciation for Bernstein, and their friendship also entered a new phase. In the meantime, Kunihiko Hashimoto also took a decisive step in his life and career, as he left the insurance company to study theater and then joined a musical theater company. Being on the performer’s side of the stage undoubtedly gave him a deepened appreciation for Bernstein’s work and a connection to his life.