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Since ancient times the world has had its list of (usually seven) wonders. In antiquity, the Great Pyramid of Giza (the only wonder from the original list still standing), the statue of Zeus at Olympia, the Colossus of Rhodes (, gigantic, version of which is being built today), and others were among the occupants of the list. Over time, the world’s wonders changed depending on the identity and place of residence of the list’s compilers, who included such places as the Great Wall of China, the Taj Mahal, and England’s Stonehenge.

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Eight succeeding shows covered the gamut of music, from Bach to jazz andfrom grand opera to musical comedy. In January 1958, was followed by , broadcast on Sunday nights for fifteen years, dubbed into a dozenlanguages and syndicated to forty countries. All were written by Bernstein and wereinfused with his knowing, dynamic personality and his genuine love of all music. They wonEdison, Emmy, Peabody and Sylvania awards for excellence in television. But perhaps theirgreatest achievement emerges from a 1960 incident in a Denver park, when a little boy wentup to Bernstein and hit him. The reason, it turned out, was that the previous program hadbegun to run over and Bernstein had to omit his usual closing. The boy resented that,"You didn't say goodnight to me." But Bernstein was thrilled at what else theboy remembered: "You were talking about Mahler." And that, of course, was theultimate vindication of all of Bernstein's efforts: he harnessed the boob tube to turn anentire generation on to classical music.

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Elsewhere, Bernstein's triumphant guest shots continued, as he conquered the rest ofAmerica and Europe. In 1953 Maria Callas, the diva whose dramatic intensity revolutionizedopera in our time, heard Bernstein on a radio broadcast and insisted that he be hired asthe first American ever to conduct at La Scala, the leading opera house of Italy. Eventhough the short notice of his engagement left him less than a week to learn the score,Bernstein's appearance with Callas was hailed as a huge success.

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At 14, Bernstein approached Heinrich Gebhard, the best-known piano teacher in Boston,for serious lessons and was referred to an assistant, Helen Coates. She not only refinedhis technique and broadened his horizons, but became a life-long mentor and friend, andultimately would serve for decades as Bernstein's personal secretary. By age 16 Bernsteinwas ready for Gebhard himself, who set Bernstein ablaze with appreciation of the emotionalpower of music.