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NEWS BULLETIN
Vol. 2, No. 5 featuring news, schedules, and events from around the school April 2004
The 78th Commencement Honorees
Manhattan School of Music celebrates its 78th commencement ceremony on Sunday, May 16, at 2:00 PM in the School's John C. Borden
Auditorium. This year's commencement exercises confer the degree of doctor of musical arts, honoris causa, to violinist Sidney Harth and
pianist and longtime faculty member Constance Keene. In addition, some three hundred graduates from both the School's undergraduate
and graduate programs will be awarded degrees.
Sidney Harth Constance Keene
Violinist and conductor Sidney Harth is universally acclaimed as “I was flabbergasted by the fantastic color, sweep and imagi-
one of the world’s great artists. His prolific career as a performer and nation and last but not least, by the incredible technique . . . I
educator has brought him countless honors and accolades, and his cannot imagine anybody, including Rachmaninoff, playing the
numerous recordings have been an important contribution to the preludes so beautifully.” When Arthur Rubinstein wrote those
classical discography. Born in Cleveland, Mr. Harth began his violin words about Constance Keene, she had long enjoyed the admi-
studies at the age of four. He studied with Joseph Knitzer at the ration of her colleagues.
Cleveland Institute of Music, where he graduated with the highest Since then, Ms. Keene’s international career, onstage and on
honors ever bestowed by the school. Mr. Harth then moved to New disc, has included appearances on major recital series and with
ork,
Y where he studied with Michel Piastro and Georges Enesco. the world’s leading orchestras, including the New York
In a stunning musical and political victory, Mr. Harth attained Philharmonic, the Philadelphia Orchestra, the Chicago
international recognition when he became the first American to be Symphony, the Hallé Orchestra, and the Berlin Philharmonic.
cont. pg. 2 cont. pg. 2
Harth cont. Keene cont.
awarded the Laureate Prize in Poland’s Wieniawski violin competi- She holds the distinction of being one of the few pianists and
tion in 1957, at the height of the Cold War. the only woman pianist to substitute for Vladimir Horowitz, in
Mr. Harth’s orchestral experience is unparalleled. He served as a recital series performing for an audience of 4400. Winner of
concertmaster of the New Y and Los Angeles Philharmonics,
ork the prestigious Naumburg Award, Ms. Keene is no stranger to
both under Zubin Mehta; concertmaster of the Chicago Symphony chamber music. Her collaborations with Y ehudi Menuhin at the
under Fritz Reiner; and concertmaster of the Louisville Orchestra Gstaad Festival won critical acclaim, as did her celebrated tour
under Robert Whitney, where he was also assistant conductor. His with Benny Goodman, performing chamber works for clarinet
solo engagements have taken him to virtually every music capital, and piano as well as Gershwin’s Rhapsody in Blue.
and he has appeared with the major symphony orchestras of North Constance Keene boasts an extensive discography. In the
America, Europe, Israel, China, South America, and Russia. Mr. July/August 2002 issue of Fanfare, it was said of her most recent
Harth is a familiar figure at leading summer music festivals, includ- recordings of the complete Weber sonatas, “Keene’s go right to
ing Aspen, Banff, Vancouver, and the Grands Interprets dans le Valle the top of the heap. If only Rubinstein were still around to hear
du Lot in the South of France; as well as festivals in Santa Barbara, her!” Her recordings of the complete Hummel sonatas also
Maine, Alaska, T exas, and T ennessee. received critical acclaim. Anthony Tommasini, chief music critic
In tandem with his solo engagements, Mr. Harth enjoys a brilliant of the New York Times wrote, “The Hummel Piano Sonatas [are]
career as a conductor. His numerous appointments have included scintillatingly performed by Constance Keene. . . I find myself
the post of associate conductor of the Los Angeles Philharmonic, as listening to them constantly. Ms. Keene brings suppleness,
well as music director of the Jerusalem Symphony Orchestra, the pearly tone, textural clarity and brilliance, touched by grace to
Puerto Rico Symphony Orchestra, and the Northwest Chamber her performance.”
Orchestra in Seattle. In addition, he served as principal conductor of In July 2003, Ms. Keene was showcased in an evening devoted
the Natal Symphony Orchestra in Durban, South Africa. Mr. Harth to her recordings and distinguished career on the “Speaking of
was director of the conducting programs at Mannes College of Pianists” series presented by the 2003 International Keyboard
Music, the University of T exas in Houston, and Hartt College of Institute and Festival. Featured in David Dubal’s book
Music at the University of Connecticut in Hartford. Remembering Horowitz, she is herself a contributor to Clavier.
Mr. Harth was the Andrew W Mellon Permanent Professor of
. Ms. Keene is a frequent adjudicator for a number of internation-
Music at Carnegie Mellon University, where he also headed the music al competitions, including the Van Cliburn, the Naumburg, the
ale
department. He also served as professor of violin at Y for 17 years. Scottish International, and Y oung Concert Artists. She served as
He currently gives master classes in chamber music and violin litera- ork
jury chair for the inaugural New Y Piano Competition and as
ture at Carnegie Mellon University and is director of orchestral activi- a selector for the prestigious Alberto Vilar Global Fellows in the
ties at Duquesne University in Pittsburgh. Mr. Harth continues to be Performing Arts. Her master classes have taken her to Asia,
much in demand internationally as a guest conductor. Europe, and South Africa.
His extensive discography includes recordings of the Rachmaninoff Ms. Keene has been on the faculty at Manhattan School of
Second Symphony and Mozart Violin Concerti Nos. 4 and 5 with the Music since 1969 and has been a member of its board of trustees
Krakow Radio and Television Orchestra on the Moss Music label. since June 1997. In addition, she established the Eisenberg-Fried
His recordings have also been issued on the RCA, V anguard, Musical Concerto Competition Award at Manhattan School of Music in
Heritage, Phillips, Koch, and Stradivari labels. Mr. Harth’s extensive honor of her parents, Esther and Joseph Eisenberg. Through this
solos on the Chicago Symphony recording with Fritz Reiner of award, Ms. Keene has enabled the School to present a prize to
Rimsky-Korsakov’s Scheherazade are universally acknowledged by each of the winners of the Manhattan School of Music concerto
critics and music lovers alike to be among the great musical treasures competition held each year.
of the twentieth century.
T
ork
Mr. Harth resides in Pittsburgh and New Y with his wife,
eresa, former principal second violin of the Pittsburgh Symphony.
3
His daughter, Laura, is a recording producer and vice president of a
digital recording production company. His son, Robert, served as
CEO of Carnegie Hall until his untimely demise at age 47 in January
2004. His grandson, Alexander, is a 15-year-old budding pianist and
synthesizer expert. Mr. Harth led the Manhattan School of Music
Chamber Sinfonia on October 26 and 27, 2001, in concerts at the
School and at Washington Irving High School.
3
2
Opera Theater Presents Martinu’s Mirandolina
Mirandolina costume sketches by Miranda Hoffman
by Doris Perlman nist slant to this play—for its period—in original tonal language cultivated by
that an independent businesswoman pulls Martinu in the 1950s. The composer him-
M anhattan School of Music’s
OperaTheater has a true rarity in
store in its spring full-length production
all of the strings and gets the man of her
choice in the end. The world premiere
self admitted that the work was ‘in Czech
style and not in Italian [style]‚’ but he sug-
took place at the Prague National Theater gested Italian local color quite effectively
of Mirandolina, a Czech opera—but to a
on May 17, 1959. Stagings of this work are with orchestral interludes, most notably
libretto in Italian. The performances, on
infrequent, one of the most recent having the saltarello (often performed as a sepa-
April 28 and 30 at 8:00 pm and May 2 at
been at the Wexford Festival in Ireland in rate piece) . . . and Mirandolina’s brilliant
2:30 pm, will be conducted by Neal Goren.
the fall of 2002. There was also a perform- coloratura aria in Act I.”
Sam Helfrich is the stage director; and
ance in Lugo, Italy, in April 2003 that was The School’s production combines the
David Newell, Miranda Hoffman, and
broadcast on Italian radio. Manhattan classical tradition with the period of the
Aaron Black are, respectively, the scenic,
School of Music’s production is believed opera’s composition, the 1950s, and the
costume, and lighting designers.
to be the United States premiere. A com- costuming will reflect eighteenth-century
Most of the roles will be double-cast. plete recording of the Wexford Festival style together with aspects of the Dior
The eponymous heroine will be portrayed performance on the Supraphon label was “New Look” that revolutionized postwar
by Elaine Alvarez and Jennifer Marshall, scheduled for release on March 30. women’s fashions at that time. The femi-
sopranos; the Marchese di Forlimpopoli
One of the most prolific composers of nist slant to the plot can still apply, since
by Michael McGee and Charles Temkey,
Czech twentieth-century opera (Grove’s the ’50s were a rather repressive period for
basses; the Conte d’Albafiorita by Trey
Dictionary lists nineteen works), Martinu women, who were forced back into the
Cassels and Pablo Heneras, tenors; the
had wanted to set a Goldoni text since the kitchen after World War II, although they
Cavaliere di Ripafratta by Raymond Ayers
mid-1930s. The opportunity to compose had proved themselves in important jobs
and Liam Bonner, baritones; Ortensia by
Mirandolina arose from a Guggenheim outside the home while “the boys” were
Meredith Flaster and JennyRebecca
Foundation award intended to support him away at the front.
Winans, sopranos; Deianira by Lucia
while writing an opera after his return to Martinu was by no means the only
Cervoni and Nicole Mitchell, mezzo-
Europe from America in 1953. Shortly opera composer to set La locandiera.
sopranos; and a servant to the Cavaliere by
before returning to Europe, he had thought T wentieth-century composers attracted
Jon-Michael Ball and Tim Farrell, tenors.
of setting La locandiera as a television to the play include the Italian-born, natu-
The romantic-interest role of Fabrizio will
ork
opera for New Y in 1952 but had aban- ralized American Mario Castelnuovo-
be sung by tenor Jinho Hwang and cov-
doned it in favor of Gogol’s The Marriage. Tedesco and the Argentinean Alfredo (not
ered by James Schaffner.
Martinu understood enough Italian to Gaetano!) Donizetti. Among earlier ver-
Mirandolina is a comic opera in three
fashion the libretto from Goldoni’s original sions were those composed by the little-
acts by Bohuslav Martinu (1890–1959) to
himself. He began work on the opera on known Sebastiano Nasolini, Giuseppe
a libretto adapted by the composer in its
December 15, 1953, in Nice; the first act was Farinelli, and Vincenzo Federici. A 1773
original language from the celebrated and
completed on March 14, 1954. A car journey Viennese setting by the perhaps unjustly
still widely performed 1753 Venetian come-
through Italy briefly interrupted work but maligned Antonio Salieri was a success in
dy La locandiera (“The Mistress of the
also fueled Martinu’s enthusiasm for things its day but has since dropped off the radar.
Inn”) by Carlo Goldoni (1707–1793). The
Italian; the second act was finished by May
plot concerns the feminine wiles of a love-
7, and the entire opera by July 1, 1954.
ly and flirtatious innkeeper who keeps sev-
eral men dangling before admitting her According to Grove, “the music of
o
true love for one of them. There is a femi- Mirandolina is suffused with the warmly
3
and the other tuned so that the IV string addition to the talent of the Manhattan
TACTUS was in unison with the open III string of School of Music composition depart-
Champions the cello. Steven Mackey was very ment’s students and faculty, TACTUS
Contemporary descriptive with the variety of unique has presented great composers such as
sounds we encountered in his piece and Luciano Berio, Steve Reich, Louis
Music very clear about his notational plans and Andriessen, Chen Yi, David Lang, Lou
by Patti Monson how to interpret them. He spoke about Harrison, Nils Vigeland, David Noon,
how he learned to play the intricate cello Kaija Saariaho, Frederic Rzewski,
T ACTUS members had the pleas-
ure of working with composer
Steven Mackey in preparation for the
part in the third movement himself (hav-
ing never played the cello before) and
Gyorgy Ligeti, and John Cage. The cur-
rent season includes masterpieces by
how he came to make decisions about Rochberg, Schoenberg, Xenakis, and
“Double Feature” event that took place detunings and the chanting violin solo, Crumb; and newer works of Mathew
on February 20 in Borden Hall. In the also in the third movement. He shared Rosenblum, Barbara White, Marc Chan,
words of the New York Times that day, with us some of the different groups’ and Steven Mackey; new Manhattan
“the group presents a genre-crossing interpretations over the many years the School of Music faculty member Julia
program that illuminates the links piece has been alive, and how they have Wolfe; and the winner of the second
between contemporary concert music revealed possibilities he had not originally annual TACTUS commission, Tobias
and folk and traditional music from intended, but still enjoyed with regard to Wagner. We invite you to our next con-
around the world.” pacing and voicings. The performers for cert in Greenfield Hall on April 16, when
Steven Mackey is professor of composi- Indigenous Instruments were Lindsay we will present the following music:
tion at Princeton University, and his piece Goodman, flute; Benjamin Baron, clar- – Songs from To a Child Dancing in the
Indigenous Instruments (1989) was the inet; Anaar Desai-Stephans, violin; John Wind for soprano, viola, flute and harp
final work performed on the evening por- Popham, cello; and Renata Rohlfing, (1983) by John Tavener
tion of this event. The performers for piano. Patti Monson conducted.
– Figment for solo cello (1994) by Elliot
Indigenous Instruments were asked to TACTUS, the Manhattan School of Carter
make some tuning changes to their Music Contemporary Ensemble, is dedi-
Western-sounding instruments. The flute – Hommage au Ciel for 2 pianos and 2
cated to awareness of and involvement
was detuned a 1/4 tone; the cello strings percussion (2004) (Winner of the
in the current creativity happening in
were IV - normal low C, III - 1/4 flat, II - annual TACTUS composers commis-
contemporary music. Our endeavors are
semitone plus a 1/4 tone sharp; I - major sion and also a world premiere) by
to study and perform works composed
third flat. The piano had a metal bolt Tobias Wagner
during our lifetime, to meet and work
inserted between two strings, making a with living composers, and to share – Sub(t)rainsS O’ Strata’sfearS” for solo
quiet, gong- like sound, and the violinist knowledgeable performances of our pre- clarinet (1996) by Eric Mandat
used two violins, one for normal tuning vious generation’s musical heroes. In – Hoketus for 2 groups of 5 instruments
(1976) by Louis Andriessen
Anyone interested in performing with
TACTUS next season should contact
the director, Patti Monson, at 212-491-
9229. Next season’s highlights include
works of Giacinto Scelsi; Anton Webern;
Manhattan School of Music student
John Slover (Dreams in the Witchhouse);
George Crumb (Ancient Voices of
Children and Black Angels); Nils Vigeland
(Ardor); David Noon (The Boys); Martin
Bresnick (Der Signal, for voices, ensem-
ble, narrator, and shadow puppets);
Frederic Rzewski (De Profundis); and the
winner, to be announced, of the third
annual TACTUS student composer
commission in 2005.
Composer Steven Mackey (rear, left) works with the TACTUS ensemble and director Patti Monson in
preparation for their February 20 concert.
W
4
Educational Outreach Opera performs An Apple A Day… at Booker T. Washington Middle School with students Derick Amos, Stephen Hong, Aaron Theno,
Marissa Famiglietti, Brandon Poor, Barry Robinson, Vivian Krich-Brinton, Hadley Combs, and Jennifer Behnke. They will be presenting a triple bill of An
Apple A Day…, Once Upon an Opera, and Animalopera on April 2 at 7:30 PM in the School’s Greenfield Hall.
Manhattan School of Music Department of Educational Outreach
by Rebecca Charnow Khemani patiently explaining to his drum set students that coordi-
nation can sometimes take a while. Walk upstairs, and you will find
I t may surprise you to learn that many elementary and
middle schools in our neighborhood have limited or no music
education for their students. Many middle-school students across
Nathan Hetherington enthusiastically conducting his own chorus.
Manhattan School of Music students also perform in our partner
New Y City are now required to take two periods of English and
ork e
schools throughout the academic year. W provide semester-long
two periods of math per day, thereby eliminating any time in their classroom residency programs in orchestral music, jazz, opera, and
schedules to take an arts class. These students are clearly missing a musical theater, as well as professional development sessions for
fundamental component of their education. These students are also classroom teachers. How do we present the genres of opera and
your future audience. musical theater to children who may know everything there is to
know about OutKast, but think opera might have something to do
With the intent of creating support for the establishment of con- with Oprah? Manhattan School of Music students are asked all sorts
sistent in-school music education programs, the Department of of questions! How often do singers practice? Do opera singers sing
Educational Outreach works with elementary and middle schools in in the shower? How difficult is it to memorize lyrics in a different
Manhattan and the Bronx, serving approximately 2,300 schoolchild- language? Do opera singers ever get sore throats?
ren each year.
e
W are pleased to invite you to witness firsthand what we do—and
Approximately 200 Manhattan School of Music undergraduate how much fun we have doing it! Join us on Friday, April 2, 2004, as we
and graduate students are currently participating in our program. present our annual triple bill presentation at 7:30 pm in Greenfield
Walk down the halls of Wagner Junior High School on the East Side Hall. This educationally entertaining evening will feature An Apple
on a T uesday afternoon, and you will find Manhattan School of a Day (written and directed by Dona D. V aughn, musical director
Music student conductors Rahsaan Barber and Nadje Noordhuis Jonathan Faiman), Once Upon an Opera (conceived and written by
smiling at each other as they lead the school’s first eighth-grade jazz Mark Janas and the Discover Opera! cast; director, Gordon
band in “Linus & Lucy.” Walk a little farther down the hall, and you Ostrowski; musical director, Mark Janas), and Animal Opera (director,
will find Max Wild and Adam Niewood trying to explain the con- Gordon Ostrowski; musical director, LeAnn Overton).
cept of improvisation to a group of animated seventh-grade brass
and woodwind players. Walk even farther down the hall, and find
Elizabeth Kitson promising to play “very fast notes” for her flute
students at the end of the lesson. In the room to the left, find Rohin
E
5
Leonard Davis and Nathan Stutch Honored with
School’s Presidential Medal
by David Geber were, together with Glenn Dicterow and studied at the Curtis Institute with Felix
Joseph Robinson, directly connected with the Salmond and Emanuel Feuermann. He was
O n March 22, the School marked
the extraordinary careers of two distin-
guished musicians: Leonard Davis, violist,
establishment of regular, instrument-specific
orchestral repertoire classes at Manhattan
on the faculty of Manhattan School of
Music between 1984 and 2003.
School of Music. Many conservatories still do On a personal note, having worked at
and Nathan Stutch, cellist. On this occa-
not offer this curriculum, and it is a great Manhattan School of Music for 20 years
sion, at a chamber music concert presented
source of institutional pride that these classes now, I always enjoyed conversations with
by faculty and students of the Orchestral
operate at such a high level in each of our and departmental input from both of these
Performance Program, both Mr. Davis and
e
degree and diploma programs. W are grate- wonderful musicians. I could always count
Mr. Stutch received the Presidential Medal
ful for all that these venerable musicians have on hearing a personal recollection of some
for distinguished faculty service to the
done to help bring these classes to reality . great conductor, composer, instrumentalist,
School. These two remarkable musicians,
both of whom gave over 40 years of serv- Leonard Davis was co-principal violist of or singer. I could also count on two of the
ice to the New York Philharmonic as ork
the New Y Philharmonic at the time of finest colleagues in this profession, always
first-desk players, have lived interestingly his retirement. He had been a member of contributing in a positive and important
similar professional lives. They both had the Philharmonic since 1949, previously play- way to our strings department. It is our
active performing careers beyond their con- ing under Toscanini in the NBC Symphony great privilege to honor and celebrate these
tributions to the Philharmonic. They have Orchestra. He studied at Juilliard with two great musicians.
shared a lifelong passion, not only for per- Milton Katims. He was on the faculty of
forming, but also for teaching, coaching, and Manhattan School of Music between 1984
bringing forth new published editions and and 2001. i
transcriptions of music for their respective Nathan Stutch was co-principal cellist of
instruments. Both have been deeply commit- the Philharmonic at the time of his retire-
ted to helping students and younger col- ment in 1990. He joined that orchestra in
leagues to prepare in the strongest possible 1946, having previously played for two sea-
way for major symphonic auditions. They sons with the Cleveland Orchestra. He
The Manhattan School of Music Chamber Sinfonia’s February 13 concert, conducted by Colin Metters, featured violinists Kuan-Cheng Lu (left) and
Elizabeth Zeltser (right), winners of the School’s 2003 Orchestral Performance String Competition.
6
Bobby Sanabria leads the Afro-Cuban Jazz
Orchestra in a concert on February 10, featur-
ing trumpeter Tom Harrell as guest artist. The
concert ended with a New Orleans–style funeral
procession honoring four greats from the jazz
world who had recently passed away: Malachi
Favors, Sam Furnace, Frank Mantooth, and
Roberto Ocasio.
The Claremont Ensemble performed Bartók’s
Contrasts on their February 17 program,
Bartók in America. Pictured performing
Contrasts are Ben Baron, clarinet; Kuan-cheng
Lu, violin; and Dmitri Shteinberg, piano.
The Claremont Ensemble concert also offered a
preconcert lecture with Richard Danielpour and
a Bartók protégé, pianist György Sandor.
7
: IN THE SPOTLIGHT ;
Kurt Masur Conducting Seminar
aestro Kurt Masur returned to Manhattan School of
M Music on March 8, heading a unique conducting seminar
that offered direct instruction to seven conducting students from
various conservatories and music schools in the United States. Each
day, the Kurt Masur Conducting Seminar included a three-hour
master class with the Maestro and a Manhattan School orchestra,
followed by a postrehearsal discussion and critique. The program
included Mendelssohn’s Ruy Blas Overture, Schumann’s Symphony
No. 4, Brahms’s Variations on a Theme by Haydn, and Strauss’s Till
Eulenspiegels lustige Streiche. The seminar concluded on Friday,
March 12, with an 8:00 pm concert in the School’s John C. Borden
Auditorium, presenting an orchestra conducted by the student con-
ductors and Maestro Masur. Ankush Kumar Bahl, Manhattan School of Music student
All participants were personally selected by Kurt Masur via
videotape. They were divided into three categories: seven partici- Symphony Y outh Orchestra, assistant conductor of the Ridgefield
pants, who made up the core group working with Maestro Masur; Symphony Orchestra, a staff conductor at Manhattan School of
one alternate to the core group; and nine auditors. Music, and assistant conductor of the New Y Y ork outh Symphony.
Commenting on the Kurt Masur Conducting Seminar, Maestro “This has been such a unique opportunity, because . . . there is no
Masur said, “It has been my wish to have a conducting program place that has anything like this. It has changed my opinions
held at Manhattan School of Music. After years of friendship with about certain things completely. I will use this going forward in
the School, I am happy to establish a Masur conducting master every way. I will use this with the San Francisco Youth Orchestra
class seminar at Manhattan School of Music where I can share the and pass the information and tradition along to the public. One of
tradition of the European masters with the young conductors of the things I like best about being a conductor is that I am always
the future. Through the years I have observed the orchestra pro- learning, always challenged.”
gram at Manhattan School, and I know the School recognizes the Adam K. Boyles is a doctoral candidate in orchestral conducting
importance of such tradition. It is my intention to continue this at the University of Texas at Austin, where he studied under Kevin
for three years.” Noe. He received a master’s degree in orchestral conducting from
President Marta Istomin commented, “We are pleased to have the University of Arizona at T ucson and a bachelor’s degree with dis-
the Kurt Masur Conducting Seminar taking place at Manhattan tinction in vocal performance from Indiana University. He has
School of Music. It is an honor for us that Maestro Masur person- extensive experience conducting university orchestras. “I didn’t
ally selected the Manhattan School of Music Symphony to be the
orchestra for his master class for conductors. We are grateful for
his wealth of knowledge and his experience that have enabled our
students to grow as musicians. His generosity of time and energy
has enhanced the level of performance and made him one of the
most respected and cherished guest conductors at the School.”
The Student Conductors
Here are the backgrounds of the principal young conductors
and some of their comments on the seminar, pictured with
Maestro Masur:
Ankush Kumar Bahl earned a double degree in music and
rhetoric from the University of California at Berkeley and a mas- Adam K. Boyles, from the University of Texas at Austin
ter’s degree from Manhattan School of Music, where his principal
teacher was Zdenek Macal. He is music director of the Ridgefield
8
know what to expect. I had heard him described as everything from
tyrant to teddy bear, but Maestro Masur has been nothing but sup-
portive. He said everything in the most loving manner. Maestro
Masur has something to say, and I admire his bold ideas about sound
and music. Even if I disagree with them sometimes, they are still
bold ideas, and I think that today too many people don’t have bold
ideas and have nothing to say. He is also such a humanitarian; he is
what I would call a beautiful man.”
Alondra de la Parra, who expects to receive a bachelor of
music degree in piano performance from Manhattan School of
Music in 2004, studied orchestral conducting, theory, and analysis
in the Juilliard Evening Division and undergraduate composition
at the Centro de Investigación y Estudios in Mexico City. She has D. Sung Jin Hong, graduate of Stadt Wien Konservatorium, Austria, and
guest conducted the New Amsterdam Symphony Orchestra and Illinois Wesleyan University
the Prism Players, New Y ork, among other ensembles. “This expe-
rience has inspired me to learn more about the tradition of Steven Jarvi received his master of music degree in orchestral
German art and culture. Orchestras are made up of players from conducting from the Peabody Conservatory, where he studied
all over the world, and they can have a great professional sound; with Gustav Meier and Markand Thakar; as well as a bachelor’s
but to get the specific sound of a culture and tradition out of an degree in music theory (with honors) and an artist certificate in
orchestra, that is the trick. I want to pass on the German sound conducting from the University of Michigan, studying with
and traditions of these pieces to orchestras. I am inspired to go to Kenneth Kiesler. His conducting positions have included per-
Europe and learn more. I want to use the power of music to com- formances of Mozart’s Der Schauspieldirektor and Vaughan
municate, help, and inspire people. Kurt Masur is a hero. He Williams’s Riders to the Sea at Peabody. “This has exceeded all of
passed on a feeling of really wanting to say something through the my expectations. I don’t really have the words to describe it.
music. Music has the power to heal, spark life, promote the imagi- Maestro Masur is very kind, giving, and patient. At times I think
nation, and inspire people to higher things.” that some people see him as a dictator; I see him as someone who
is passionate and cares about music, and does not like it when peo-
ple disrespect it. He gave so much and so did the orchestra. The
private sessions have been the most [memorable] for me. The
musical lineage he is part of is incredible. His cello teacher played
under Brahms, and his cultural and musical connection[s are] to
Mendelssohn . . . . To hear it from the source is amazing. His idea
of lineage and inheritance of art is important; it is dying out. It has
sparked in me the desire to seek out the tradition. His lineage is a
direct communication to those composers. To have deep under-
standing of the composer and bring it to the orchestra—that’s
what it’s about. I did this because I feel that the best way to learn
is to start at the top. I like the trickle-down effect. I want to hear
it from the best. I want young conductors to know that there is
nothing wrong with seeking out the greatest minds.”
Alondra de la Parra, Manhattan School of Music student
D. Sung Jin Hong received a master’s degree of fine arts in con-
ducting from the Conductor’s Institute at Bard College, studying
with Harold Farberman. His previous education included an artist
diploma in conducting from the Stadt Wien Konservatorium in
Vienna. He graduated with a bachelor’s degree in music from
Illinois Wesleyan University. He is presently music director of the
ork
One World Symphony and Chorus in New Y City. “This has
been inspirational for me! I have done many conducting seminars,
and nothing has been like this. Masur works with your strengths;
he doesn’t expose you publicly, and any criticism he has is done in
a positive way. He has a genuine interest in young conductors.
From this I will take so much. Masur encouraged me to sing and
breathe with the orchestra and liberated me to use my body even Steven Jarvi, graduate of Peabody Conservatory and University
more. He opened me up and taught me to go back to the core.” of Michigan
9
music cum laude from Western Washington University in 2001.
He is presently music director of the University of Texas
University Orchestra and associate conductor of the Pittsburgh
New Music Ensemble. “This has been fantastic! Beyond my
expectations, surprisingly, in a lot of nonmusical ways. The inter-
action with Masur has been incredible, as well as the stories about
music and his life. Honestly, it’s been so amazing that I would
have come for the stories alone, without the conducting aspect,
just to listen to him. Also the orchestra has been so supportive
both on and off stage. I wanted to do this because I saw Maestro
Masur in rehearsals with an orchestra when I was in school at
Indiana University. I was fascinated with how he looked at music
P George Mathew, from Manhattan School of Music
. and how he achieved such a great sound.”
P George Mathew graduated in 2003 from Manhattan School
.
of Music with the Postgraduate Diploma in conducting, studying
under Zdenek Macal. He graduated magna cum laude from
Amherst College, with further studies in conducting and historical
performance at the University of Minnesota (M.M.) and Duke
University. He is a staff conductor at Manhattan School of Music.
“He is 77 years old, and the body will not go for another 77. We will
outlive him, and this informs the urgency of his teaching. The
statement Masur made that stuck out to me the most is: ‘It’s use-
less if it doesn’t have meaning.’ The technical skills and good musi-
cianship are givens, but without soul and personal connection it is
useless. For example, if you say ‘I love you’ to someone and focus
on articulating every vowel and sound and say it perfectly with Elise Gauthier-Villarz, first alternate and graduate of the Royal Academy
nothing behind it, it means nothing, it does not touch your heart. of Music
But if you say ‘I love you’ to someone, and it and comes out like a
blur and has meaning behind, it will touch your heart. He stressed Kurt Masur
the fact that none of us can live without love, and that the experi-
Since 1992, Manhattan School of Music has had a long-standing
ence of making music is all about the love between the music, con-
relationship with Maestro Masur. He has played a significant role
ductor, musicians, and audience. It is all about the spirit, the core.
as a guest conductor of the School’s orchestras in performances
None of us are alone.”
and during readings and rehearsals. He has also been the key fig-
ure in symposia on Brahms and Mendelssohn. Along with his
many other worldwide honors and awards, he has received a doc-
torate, honoris causa, from the School. He is one of the most
widely admired and respected musicians of his generation and is
well known to orchestras and audiences not only as a distin-
guished conductor but also as a humanist and educator. His close
ork
and intense collaboration with the New Y Philharmonic,
where he was music director from 1991–2002, was marked by a
consistently high quality of playing and artistic spirit.
Born in Brieg, Silesia, in 1927, Maestro Masur studied piano, com-
position, and conducting at the Music College of Leipzig. In 1967,
he was appointed the Dresden Philharmonic’s chief conductor, a
post he held until 1972. In his capacity as the Kapellmeister of the
Brett Mitchell from the University of Texas at Austin Leipzig Gewandhaus Orchestra—a position of profound historic
importance that has been held by eminent figures such as
Brett Mitchell is a doctoral candidate at the University of Mendelssohn, Nikisch, Furtwängler, and Walter—he led nearly a
Texas at Austin, where he studies with Kevin Noe. He expects to thousand performances between 1970 and 1996 and more than nine
obtain his doctorate in May of 2005. He received his master of hundred concerts on tour. Upon his retirement from this post in
music degree with honors from UT in 2003 and a bachelor of 1996, the Gewandhaus named him its first-ever conductor laureate.
10
Maestro Masur rehearses the Manhattan School Orchestra.
Maestro Masur has been a frequent guest conductor with the
world’s leading orchestras. In September 2000, he assumed the posi-
tion of principal conductor of the London Philharmonic Orchestra.
ork
At the end of his tenure with the New Y Philharmonic in 2002,
he also became music director of the Orchestre National de France.
Maestro Masur has received numerous awards from governments
and cultural institutions, including the Cross of the Order of Merit
of the Federal Republic of Germany in 1995. In 1997 came the titles
of Commander of the Legion of Honor from the government of
ork
France and New Y City Cultural Ambassador from the City of
ork.
New Y He received the Commander of the Cross of Merit of
the Polish Republic in 1999. Since 1992, he has held the lifetime title
of honorary guest conductor of the Israel Philharmonic. He also
holds several honorary degrees in addition to the one from
Manhattan School of Music from such institutions as the Breslau
Maestro Masur with Susan Bender-Blumstein, Vice President External
Academy of Music, Indiana University, Leipzig University, and Y ale.
Affairs, during a personal interview
w
Postscript: No description of this unique seminar would be complete
without the School’s profound thanks to Maestro David Gilbert for
his unstinting efforts in preparing the orchestra for Maestro Masur
and the participating young conductors!
11
Lauren Flanigan, leading soprano of the New
York City Opera and Manhattan School of Music
graduate, works with student Julie Baren at Ms.
Flanigan’s master class held on February 18.
Catherine Malfitano, leading international
soprano and Manhattan School of Music gradu-
ate, pictured with students Christian Reinert,
Laura Cotton, Sarah Heltzel, and Hyun-Ju Song
at her February 12 master class
Three giants from the jazz world visited to dis-
cuss the business of jazz music on February 12.
Pictured with Justin DiCioccio from the left are
Michael Dorf, formerly of the Knitting Factory;
Tommy LiPuma from the Verve Music Group;
and Larry Rosen, Manhattan School of Music
alumnus and founder of GRP Records.
12
Left to right: Richard Owen, Richard Owen Jr., Lynn Owen, David Gordon, and Ronnita Miller
Richard Owen’s Opera Rain Issued on CD
Rain, an opera in two acts with music and libretto by Richard Owen, has been released as a compact disc on the Albany label. The
opera is based on the famed short story “Miss Thompson” by W. Somerset Maugham that was adapted as a stage play by John Colton and
filmed several times under the title Rain, as well as under various other titles.
Manhattan School of Music features prominently on this recording. The composer, Richard Owen, is a member of the School’s board of
trustees. He completed the Manhattan School of Music’s composer’s curriculum in 1961 and received the degree of doctor of musical arts,
honoris causa, in 1989. The conductor of the recorded performance is Richard Owen Jr., who received his master of music degree from
Manhattan School of Music; the assistant conductor is Elina Christova, a member of the School’s staff. Six of the players in the thirteen-mem-
ork,
ber orchestra, the Camerata New Y are from Manhattan School of Music. The opera features Lynn Owen (center), a member of the
School’s voice faculty, in the leading role of Sadie Thompson. In addition, two recent graduates, David Gordon (second from right) as Dr.
McPhail and Ronnita Miller (right) as Mrs. Horn, are also in the cast.
Manhattan School of Music jazz trumpet majors Jean Caze and Armaury Coeytaux, a violin student of Patinka Kopec, was
Philip Dizack were named prizewinners in the 2004 National named first-prize winner, performing the Brahms Violin
Trumpet Competition/Jazz Division, held at George Mason Concerto, in the Stulberg International String Competition in
University in Fairfax, Virginia. Mr. Caze was named first-prize Kalamazoo, Michigan.
winner and Mr. Dizack third-prize winner.
13
E CALENDAR OF EVENTS F
April/May 2004
➤ INDICATES EVENTS THATARE GOOD FOR CONCERTATTENDANCE
Thursday, April 1, at 7:30 pm Tuesday, April 6, at 3 pm
CAFÉ JAZZ JAZZ MASTER CLASS
Mitzi Newhouse Pavilion • FREE event; no tickets required Jon Faddis
__________________________________________________________ Studio 610 • FREE event; no tickets required
Friday, April 2, at 12:30 pm __________________________________________________________
MASTER CLASS SERIES: THE ART OF Tuesday, April 6, at 7:30 pm
ORCHESTRAL PERFORMANCE CAFÉ JAZZ
Chris Olka, tuba, Seattle Symphony Mitzi Newhouse Pavilion • FREE event; no tickets required
Myers Recital Hall • FREE event; no tickets required __________________________________________________________
__________________________________________________________ Wednesday, April 7, at 4 pm
Friday, April 2, at 3 pm ➤ MASTERS AT MANHATTAN
PERCUSSION MASTER CLASS Master Classes with Distinguished Artists
John Arrucci Horacio Gutiérrez, piano
Studio 620 • FREE event; no tickets required Greenfield Hall • FREE event; no tickets required
__________________________________________________________ __________________________________________________________
Friday, April 2, at 7:30 pm Thursday, April 8, at 8 pm
➤ EDUCATIONAL OUTREACH PROGRAM ➤ MANHATTAN SCHOOL OF MUSIC
Rebecca Charnow, coordinator CHAMBER SINFONIA
TRIPLE BILL PERFORMANCE STRAVINSKY: Symphonies of Wind Instruments
Greenfield Hall • FREE concert; no tickets required DVORÁK: Serenade in D minor, Op. 44
__________________________________________________________ TCHAIKOVSKY: Serenade for Strings, Op. 48
Greenfield Hall • FREE concert; no tickets required
Saturday, April 3, at 9 am
__________________________________________________________
MANHATTAN SCHOOL OF MUSIC
Thursday, April 8, at 8 pm
OPERA OUTREACH PERFORMANCE
Greenfield Hall • FREE concert; no tickets required ➤ MANHATTAN SCHOOL OF MUSIC
__________________________________________________________ AFRO-CUBAN JAZZ ORCHESTRA
Bobby Sanabria, conductor
Saturday, April 3, at 8 pm
Sunday, April 4, at 3 pm John C. Borden Auditorium • FREE concert; no tickets required
__________________________________________________________
➤ ACCOMPANYING SEMINAR CONCERT
Thomas Muraco, music director; Dona D. Vaughn, stage director Friday, April 9, at 3 pm
PUCCINI: Madama Butterfly PERCUSSION MASTER CLASS
John C. Borden Auditorium • FREE concert; no tickets required John Arrucci
__________________________________________________________ Studio 610 • FREE event; no tickets required
__________________________________________________________
Monday, April 5, at 7:30 pm
CAFÉ JAZZ Monday, April 12, at 7:30 pm
Mitzi Newhouse Pavilion • FREE event; no tickets required CAFÉ JAZZ
__________________________________________________________ Mitzi Newhouse Pavilion • FREE event; no tickets required
__________________________________________________________
14
Tuesday, April 13, at 7:30 pm Wednesday, April 21, at 4 pm
CAFÉ JAZZ ➤ MASTERS AT MANHATTAN
Mitzi Newhouse Pavilion • FREE event; no tickets required Master Classes with Distinguished Artists
__________________________________________________________ Charles Riecker, vocal audition
Wednesday, April 14, at 4 pm Greenfield Hall • FREE event; no tickets required
➤ MASTERS AT MANHATTAN __________________________________________________________
Master Classes with Distinguished Artists Wednesday, April 21, at 8 pm
Glenn Dicterow, concertmaster, New Y Philharmonic
ork ➤ BAROQUE ARIA ENSEMBLE CONCERT
Greenfield Hall • FREE event; no tickets required Kenneth Cooper, director
__________________________________________________________ Greenfield Hall • FREE concert; no tickets required
Wednesday, April 14, at 7:30 pm __________________________________________________________
CAFÉ JAZZ Thursday, April 22, at 8 pm
Mitzi Newhouse Pavilion • FREE event; no tickets required ➤ LILLIAN FUCHS MEMORIAL
__________________________________________________________ CHAMBER MUSIC CONCERT
Wednesday, April 14, at 8 pm Lynne Normandia, coordinator
➤ ACCOMPANYING DEPARTMENT Greenfield Hall • FREE concert; no tickets required
CONCERT __________________________________________________________
John Forconi, coordinator Friday, April 23, at 8 pm
Greenfield Hall • FREE concert; no tickets required VOCAL CHAMBER MUSIC CONCERT
__________________________________________________________ Raymond Beegle, coordinator
Friday, April 16, at 3 pm Pforzheimer Recital Hall • FREE concert; no tickets required
PERCUSSION MASTER CLASS __________________________________________________________
Steven Schick Sunday, April 25, at 3 pm
Studio 610 • FREE event; no tickets required MANHATTAN SCHOOL OF MUSIC
__________________________________________________________ JAZZ PHILHARMONIC
Friday, April 16, at 8 pm Justin DiCioccio, conductor
➤ MANHATTAN SCHOOL OF MUSIC LaGuardia High School, 100 Amsterdam Avenue at 65th Street
CONTEMPORARY ENSEMBLE FREE concert; no tickets required
__________________________________________________________
TACTUS
Patti Monson, director Monday, April 26, at 8 pm
JOHN TAVENER: Three Songs from ➤ ELECTRONIC MUSIC CONCERT
To a Child Dancing in the Wind Joel Chadabe, coordinator
ELLIOTCARTER: Figment for solo cello Greenfield Hall • FREE concert; no tickets required
TOBIAS WAGNER: Hommage au ciel for 2 pianos and 2 percussion __________________________________________________________
(Winner of the annual TACTUS composers commission)
ERIC MANDAT: Sub(t)rains O’Strata’sfearS” for solo clarinet Tuesday, April 27, at 7 pm
LOUIS ANDRIESSEN: Hoketus STRING CHAMBER MUSIC CONCERT
Greenfield Hall • FREE concert; no tickets required David Geber, coordinator
__________________________________________________________ Pforzheimer Recital Hall • FREE concert; no tickets required
Monday, April 19, at 8 pm __________________________________________________________
PIANO CHAMBER MUSIC CONCERT Tuesday, April 27, at 7:30 pm
Marc Silverman, coordinator CAFÉ JAZZ
Pforzheimer Recital Hall • FREE concert; no tickets required Mitzi Newhouse Pavilion • FREE event; no tickets required
__________________________________________________________ __________________________________________________________
Monday, April 19, at 5 pm Wednesday, April 28, at 7:30 pm
MASTER CLASS SERIES: THE ART OF CAFÉ JAZZ
ORCHESTRAL PERFORMANCE Mitzi Newhouse Pavilion • FREE event; no tickets required
ork
Joe Alessi, trombone, New Y Philharmonic __________________________________________________________
Room 607 • FREE EVENT; no tickets required
__________________________________________________________
15
Wednesday, April 28, at 6:30 pm Friday, April 30, at 3 pm
OPERA PREVIEW MASTER CLASS SERIES: THE ART OF
Panel discussion on the Manhattan School of Music Opera ORCHESTRAL PERFORMANCE
Theater production of Bohuslav Martinu’s Mirandolina Mark Yancich, timpani, Atlanta Symphony Orchestra
Greenfield Hall • FREE event; no tickets required Studio 610 • FREE event; no tickets required
__________________________________________________________ __________________________________________________________
Wednesday, April 28, at 8 pm Saturday, May 1, at 8 pm
Friday, April 30, at 8 pm
Sunday, May 2, at 2:30 pm
➤ AN EVENING OF SONGS & DUETS
Warren Jones, coordinator
➤ MANHATTAN SCHOOL OF MUSIC
Greenfield Hall • FREE concert; no tickets required
OPERATHEATER __________________________________________________________
Gordon Ostrowski, artistic director
Wednesday, May 12, at 8 pm
BOHUSLAV MARTINU: Mirandolina (American premiere)
Sung in Italian with English supertitles ➤ VENICE CONCERT
Neal Goren, conductor; Sam Helfrich, director David Noon, coordinator
John C. Borden Auditorium • Tickets: $20; $15; half price for sen- Greenfield Hall • FREE concert; no tickets required
iors and students. For information call 212-749-2802, ext. 4472. __________________________________________________________
__________________________________________________________ Wednesday, May 12, at 8 pm
Thursday, April 29, at 8 pm Thursday, May 13, at 8 pm
Friday, May 14, at 8 pm
MANHATTAN SCHOOL OF MUSIC
JAZZ COMPOSERS’ CONCERT ➤ AMERICAN MUSICAL
Justin DiCioccio, coordinator THEATER ENSEMBLE
Carolyn Marlow, director
Greenfield Hall • FREE concert; no tickets required
__________________________________________________________ SIDE BY SIDE BY SONDHEIM
John C. Borden Auditorium • FREE concert; no tickets required
__________________________________________________________
APRIL
21
2004
BULLETIN SUBMISSIONS
Anyone wishing to submit material for consideration in an upcoming issue of the Manhattan School
of Music News Bulletin must e-mail the information to bulletin@msmnyc.edu b t e d a l n s
y h edie
mentioned below. All materials must be 50 words or less and are subject to review.
We reserve the right to edit all copy. Submission does not guarantee inclusion in the bulletin.
NEXT ISSUE: W ednesday,M a 1
y 2
MATERIALS DUE: April 21
16
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