The Seckerson Tapes: Lenny Bernstein's right-hand man, Craig Urquhart

The Seckerson Tapes: Lenny Bernstein's right-hand man, Craig Urquhart | reviews, news & interviews

The Seckerson Tapes: Lenny Bernstein's right-hand man, Craig Urquhart

Frank talk about living and working at the right hand of a musical superstar

by Edward SeckersonMonday, 25 January 2010

Conductor Leonard Bernstein at the Royal Festival Hall, London

Craig Urquhart was Leonard Bernstein's personal assistant for the last five years of his life. In this touchingly frank interview he talks about the man he knew, the man he revered, the man who wanted to be all things to all people and who consistently pushed himself to the limit in the service of the music that drove him.

Explore topics

Share this article

...

Permalink Submitted by David Jack Smith (not verified) on Mon, 25/01/2010 - 12:37

Oh goody. Did Lenny ever repent his cringeworthy, embarrassing 1960's radical chic when he fawned and slobbered over the "Black Panthers." It must have been so exciting to watch at all those rich upper-class "whitey" women wet their knickers as they fantasized about the heretofore forbidden fruit. Were they up for the cause or what? A rebel without a clue, indeed. Though, like Lloyd Weber, he did write some catchy tunes.

Add comment

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more Classical music

LSO, Pappano, Barbican review - singular adventures for a new era A quick-change MacMillan premiere finds correspondences in singular Sibelius

First Person: Alexandra Dariescu on highlighting women at the Leeds International Piano Competition A distinguished pianist fights for more balanced international programming

Proms 63-65, Choral Day review - from Harris to Handel/Mozart via Alabama, with love British and American beauties crowned by a cornucopial 'Messiah'

Prom 62, Mahler's Sixth Symphony, Bavarian RSO, Rattle review - sound over momentum Near-perfect playing, but something missing in the overall drama

Prom 61, Bavarian Radio Symphony Orchestra, Rattle review - Bruckner without tears A lithe, smooth journey around a craggy masterpiece

Prom 58, Orchestre de Paris, Mäkelä review - risky reinvention pays off in part Berlioz fares better than Stravinsky in a master conductor’s fresh takes

Prom 55, Ólafsson, Berlin Philharmonic, Petrenko review - stealth and sweep from the greatest Smetana’s national epic has abundant operatic drama and orchestral beauties

Prom 54, Ma, Ax, Kavakos review - exquisite display of humility and communication Three musicians at the top of their game tease out the subtleties of the repertoire

theartsdesk Q&A: conductor Dalia Stasevska on her new album of contemporary orchestral music Finnish-Ukrainian conductor looks to bring the music of today to new audiences

Classical CDs: Beans, carrots and bassoons Danish pianism, a great conductor's Italian recordings and a bold contemporary compilation

Prom 50, Fujita, Czech Philharmonic, Hrůša review - revelations where least expected Fresh-faced, unpredictable Dvořák, majestic if not entirely visceral Janáček

Prom 49, Kobekina, Czech Philharmonic, Hrůša review - what an orchestra Glorious playing save for a disappointing cellist

Follow @theartsdesk