6561winter_3:6561_Kaufman_3 11/19/08 2:00 PM Page 1 Winter 2008-09 IN HARMONY Kaufman Center Newsletter Amstel Quartet TOMORROW’S STARS TODAY WHAT DOES IT MEAN TO BE AN “EMERGING ARTIST”? F or seven Tuesday afternoons during the 2008-09 season, Kaufman Center presents rising classical music stars at Merkin Concert Hall. Tuesday Matinees—Kaufman Center’s longest-running series— demonstrates Kaufman Center’s dual commitment to arts education and performance. Through this series, it helps to foster the careers of these “emerging artists” and bridge the gap between their formal education and their lives in performance. So, what does it mean to be an “emerging artist?” Most often linked with youth, the term actually deﬁnes a position in an artist’s career and does not necessarily refer to age. Merkin Concert Hall Director Gregory Evans explains, “ ‘Emerging’ refers to artists or ensembles who are well regarded in the industry, having won awards and received ‘inside’ acclaim, but who lack wider public recognition.” For such artists, there are certain milestones on the performance trail through which they garner acclaim, such as the opportunity to perform in the Tuesday Matinees series. Through this series Kaufman Center presents seven solo artists or ensembles annually, exposing each to enthusiastic audiences and, often, to important critical recognition. Launched in the 1981–82 season, Tuesday Matinees found its current focus on emerging artists under former Merkin Concert Hall Director Vicki Margulies in the 1990s. Margulies explains, “I’ve always been dazzled by the excellence of young artists coming up, and I wanted to ﬁnd a way to support them. Tuesday Matinees seemed a brilliant way to let artists beneﬁt from an opportunity to play in New York City. I also saw the series as a way to treat audiences to great performances.” Margulies is now Artist Manager for Young Concert Artists (YCA), one of the leading organizations dedicated to discovering and launching the careers of exceptional musicians from around the world. continued on page 2 6561winter_3:6561_Kaufman_3 11/19/08 2:00 PM Page 2 TOMORROW’S STARS TODAY OMER AVITAL’S WHAT DOES IT MEAN TO BE MIDDLE EASTERN AFRO-JEWISH AN “EMERGING ARTIST”? BLEND OF CHAMBER JAZZ Coming to Merkin Concert Hall on January 10 continued from page 1 Presentation on a stage as prestigious as Merkin Hall can open doors to other venues. Just how an artist gets invited to perform on the series varies according to genre. Explains Evans, “For soloists, I generally take cues from the main young artist competitions––YCA, Concert Artists Guild or Astral Artist; for ensembles I look for groups whose individual artists are also established performers. Additionally, I try to create an overall balance of different instruments and sounds each season, mixing piano and violin soloists or string quartets with the less expected, such as a marimba soloist or a saxophone quartet.” In this way, Merkin Hall plays curator, offering a quality selection each season from the many available options. As artists garner more acclaim they perform at increasingly bigger venues for increasingly larger audiences. While this exposure is exciting, there is something about the warmth, accessibility and acoustical quality of Merkin Hall that artists often miss, and which often calls them back. The Brentano String Quartet played in the Tuesday Matinees series at the beginning of its career. By the time they were performing at Carnegie Hall and elsewhere, they still craved the experience of performing at Merkin Hall and the close connection they found with their audience. Says mezzo-soprano Sasha Cooke, a 2008-09 Tuesday Matinees artist, “A singer could not imagine a more perfect space . . . like a living room and recital hall in one. Merkin provides another arena to explore my hopes artistically, to be adventurous and uninhibited. Any and every chance to be on the stage brings necessary training that can happen no other way.” For the audience, the chance to see artists in such an intimate setting is a unique advantage. Explains one audience member, “I come because this series always presents wonderful young people, it’s affordable and, of course, because it’s a good time.” The enthusiasm of the artists is palpable in the performances. A young listener shared, “I came today for the pianist. He has so much warmth and understands the music so well. For him it’s not about showing off.” For these artists it’s not about showing off. Tuesday Matinees is a celebration—of talent, of opportunity and of things to come. In the words of one longtime subscriber, Omer Avital, Ryan Cohan “it’s one of the great secret bargains in New York!” T o say that the music of Israeli composer, arranger and bassist Omer Avital is “Middle Eastern” is limiting. Although he grew up in Israel, both his ethnic background (Yemeni and Moroccan) and his current home (New York) factor prominently in the curious diversity of his sound. Avital’s compositions for his new ensemble, the Omer Avital Ensemble, draw on elements as diverse as the Judeo-Arabic music of Spain, tribal music of North Africa and the European classical tradition. Avital came to music as a child while studying classical guitar at a conservatory in Israel. In high school he fell in love with jazz––with both its free spirit and improvisa- tional challenge. He began experimenting with other instruments, eventually settling on the upright bass as his primary outlet. He continued to study classical composition and spent most of his time inventing jazz pieces. Then he moved to New York while in his twenties. “This is where my real growth as a musician happened,” explained Avital recently. “I met people from so many different backgrounds who knew where they came from and embraced different traditions. It made me realize for the ﬁrst time that I had my own background, and that I was inﬂuenced by it. These things are taken for granted until you have a context in which to put them.” On January 10, Avital will premiere Song of A Land: Middle Eastern-Afro-Jewish Music at Merkin Concert Hall in what will also be the debut performance of his new ensemble. Song of A Land will feature 12 musicians ranging from a string quartet to an Israeli pianist to a Turkish clarinetist to Israeli saxophone and trumpet players and Avital on bass and oud (a pear-shaped Join us for this Musically Speaking Middle Eastern stringed instrument that series concert. Tickets are $30 looks like a guitar). Avital describes Song ($20 for members), available at of A Land as “sort of classical in that it has kaufman-center.org or 212 501 3330. a formal structure . . . it is an evening of music––a collection of stories that are all connected, and which all represent my life.” The piece opens with an introduction followed by an Israeli-Jewish meditation on themes, a lamentation and various other “stories” (Andalusian, Moroccan and Yemeni in nature) before ending with a festive North African/Middle Eastern rhythm sequence that he calls “tribal desert music.” Alturas Duo Some of the piece is composed and much is improvised, though Avital hopes to blur the line between the two. Avital shares the bill with Chicago-based pianist Ryan Cohan and his band, who Join us for the next Tuesday Matinees performance on December 16, featuring the will, by contrast, present original compositions steeped in swing from Cohan’s native Alturas Duo playing South American and classical music in the unusual combination Chicago––the City of Big Shoulders. The evening is appropriately titled Mideast of the viola, charango and guitar. Tickets are available at 212 501 3330 or online Meets Midwest. at kaufman-center.org. This concert has been partially underwritten by . 2 VISIT KAUFMAN-CENTER.ORG 6561winter_3:6561_Kaufman_3 11/19/08 2:00 PM Page 3 NEW GIFT MAKE YOUR GIFT BEFORE FUNDS PIANOS DECEMBER 31 T hanks to a generous $1 million gift from William and Karen Ackman and the Pershing Square Foundation, Kaufman Center has been able to purchase 19 new Steinway and Boston pianos for its studios and classrooms. A mixture of uprights and grands, the pianos started arriving at Goodman House on October 22 and are a welcome addition to the extensive resources available to the center’s students and faculty. Executive Director Lydia Kontos says, “I am very excited about this gift, which beneﬁts the Kaufman community enormously and will have a positive impact on our future as a great center of learning and performance.” The gift will also be used to refurbish three of Kaufman Center’s currently-owned pianos as well as to strengthen the brass and wind program at Lucy Moses School with new instruments. For the ﬁrst time, some of these pianos and other instruments will be available to students through a new loan program made possible by this gift. .S. Cynthia Espiritusanto attends the P 161 Suzuki outreach program at Kaufman Center W hen you make a donation to Kaufman Center you contribute to the future of the performing arts in New York City. The Center is a one-of-a-kind combination of a vibrant performance venue with two dynamic schools where people of all ages come to enhance their understanding and appreciation of music and other performing arts. By making a gift to the Annual Fund, you help ensure the Center’s ability to provide scholarships to disadvantaged children in the Lucy Moses School, a top-notch music education to the gifted students in the Special Music School, and innovative music presentations for concert-goers in Merkin Concert Hall. Gifts of every level are deeply appreciated, and gifts made by December 31 are eligible for deductions on your 2008 taxes. Kaufman Center’s Kathy Hubbard and Igal Kesselman with Bethany Rose from Steinway & Sons SUPPORT THE KAUFMAN CENTER GOODMAN HOUSE RENOVATION Support the programs of Merkin Concert Hall, Lucy Moses School and Special Music CONTINUES WITH School by making a gift to Kaufman Center! Just return this form to the address below, visit kaufman-center.org to make your gift online or call the Development Ofﬁce at SECOND FLOOR TUNE-UP 212 501 3350 to discuss a giving strategy that’s right for you. AII donations are fully tax-deductible. K aufman Center’s recent Goodman House renovation—featuring upgrades Yes! I would like to make a gift in the amount of: to Merkin Concert Hall and the Lucy Moses School and Special Music School lobby as well as a brand new facade—has been a great success so far. The K $5,000 (Your name on a seat in Merkin Concert Hall) Center has never been better equipped to serve the community with arts education K $1,500 (Your name on a plaque in the Merkin Concert Hall lobby) and performance programs. K $500 K $250 K $100 K Other: $ _____ As is often the case, good change inspires more good change. With the initial phase of construction drawing to a close––on schedule and on budget––Kaufman Center has identiﬁed other ways to make its space more inviting for the school community. After a Name (Please print) thorough assessment of resources still available from the Kaufman Campaign, it was E-Mail K Send me email updates on programs decided to invest in renovating the second ﬂoor––a main congregating space used by students and parents. Executive Director Lydia Kontos explains, “The bottom line is Address that we want to provide a community space where parents feel welcome. Many of the City|State|Zip ideas for these improvements actually came from parents themselves, in particular Phone (Home) Work resulting from a survey we conducted last spring with Lucy Moses families.” Improvements completed this summer include replacing windows in the Birnbaum Music Library and Fax Cell piano labs with double-paned glass to conserve energy, upgrading the bathrooms on the second and third ﬂoors, replacing the sound absorption panels in the Molly Goodman Gift amount: $ _____ Lounge (also used as the Special Music School lunchroom) and generally replacing K My company will match this gift. well-worn surfaces with materials matching those used in the recent renovation. Kaufman K I would like to make a gift of stock or other assets. Center is exploring additional projects, including making wireless internet access available K I would like information about including Kaufman Center in my estate planning. and installing collapsible stacks in the library so it can remain open for parents at times when the librarian is off duty. To learn how you can support the ongoing renovation Payment of the Goodman House, please visit kaufman-center.org or call 212 501 3350. K Check (payable to Kaufman Center) K Please charge my: K Visa K Mastercard K AmEx SAVE THE DATE Card number Expiration date Annual Scholarship Luncheon - Tuesday, March 10, 2009 supporting the Scholarship Fund of Lucy Moses School Signature Kaufman Center Honors – Wednesday, May 27, 2009 Please mail to: Development Ofﬁce at Kaufman Center, Goodman House, beneﬁtting Merkin Concert Hall, Lucy Moses School and Special Music School programs 129 West 67th Street, New York, NY 10023 Visit the new kaufman-center.org VISIT KAUFMAN-CENTER.ORG 3 6561winter_3:6561_Kaufman_3 11/19/08 2:00 PM Page 4 A DALCROZE EDUCATION: HOLISTIC TRAINING FOR COMPLETE MUSICIANS Dalcroze Eurythmics Class Anne Farber with Dalcroze student Shala Atlas performing a canon exercise “One does not learn in this Dalcroze method by By 1914, the Dalcroze philosophy had spread to New Canada and throughout the United States gathered for imitation of the instructor . . . it is an inner harmony York, and the New York Times featured the program two two-week sessions. Typical adult Dalcroze students are working outward; it is not a mere matter of memory.” in a lengthy article that referred to Dalcroze as, “that parents, musicians, actors, dancers or educators––some of –– New York Times, January 25, 1914 famous method of ‘rhythmical gymnastics,’ or, better, whom want to incorporate Dalcroze into their teaching of ‘eurhythmics,’ which has set ﬁve European countries methods for other subjects. Said one teacher who attended If you think about music as a language, then each all agog.” Today the Dalcroze School of New York is the summer intensive, “This course gave me a completely musical phrase is an event of tones and beats, much like integrated with LMS, where Dalcroze is a signature different perspective on teaching music, so much so that words and syllables. And when we put our spoken words program. I wonder why some Dalcroze techniques are not more into a song, we will likely ﬁnd ourselves nodding our widely used.” Another student noted, “The improvisation Primarily, Dalcroze is used to teach music theory, which heads, tapping our toes or clapping our hands. This is our was great. I learned more about modes in the ﬁrst three is traditionally learned from books, demonstrations and innate physical response to music––movement––and it is days than I did in seven years of music school.” Some note taking. By contrast, the Dalcroze approach makes also the basis for a highly innovative approach to teaching educators are seeking Dalcroze certiﬁcation at the Certiﬁcate use of the body as an entrée to the mind. A Dalcroze music that is called Dalcroze Eurhythmics. On a recent and License levels, towards which teacher training at lesson is physical, interactive, intuitive and improvisatory. Wednesday morning, Dalcroze master teacher Anne Farber LMS can be applied. Says Farber, “You don’t have to know theory to be a demonstrated rhythm for a group of young students at musician, but if you have a theory background you know In addition to the many Dalcroze classes offered to young Lucy Moses School (LMS). how to talk to other people—and yourself—about music.” people and adults through LMS, Kaufman Center has “Let’s think of the beats as if they were the names of One of the interesting things about Dalcroze is that there incorporated the Dalcroze method elsewhere in creative months,” explained Farber. And while clapping hands in is no set curriculum. There is an overall philosophy, and ways. First year Suzuki violin classes include a Dalcroze time, she said: there are universal principles or goals, primary subject component that was speciﬁcally structured/tailored to Jan—u—ar—y areas (such as “beat,” “phrase” or ”dynamics”), practices enhance the curriculum of the Suzuki method. And the Feb—ru—ar—y (such as “quick reaction,” “canon” or “follow”) and Center believes so strongly in the connection between March teaching sequences (as in the above example, where music study and Dalcroze that, at LMS, full Suzuki students A—pril tempo is taught using the rhythmic pattern of words). can take a Dalcroze course free of charge, and private lesson students can enroll at a signiﬁcant discount. The Outside of these guidelines, the class experience is This translates in musical terms to: music theory component for SMS students in grades K–8 determined by the style of the instructor. And while the 1—2—3—4 is also based on Dalcroze. In fact, Farber, Hartley and speciﬁc teaching sequences may vary by age group, the 1—2—3—4 some of Kaufman Center’s other Dalcroze teachers–– basic elements are the same. For example, Farber often 1 Cynthia Lilley and Eric Barnhill––are working together to uses the xylophone to demonstrate concepts in class. 1—2 document the curriculum for the SMS. For a discipline that Sean Hartley, Director of Kaufman Center’s Theater Wing has no set curriculum, this will be a ﬁrst for the Dalcroze Such begins a typical lesson in Dalcroze––a unique and and the LMS Dalcroze program for children, sometimes method. Says Farber, “It’s important that as students move powerful way to cultivate musical awareness by coordinating incorporates storytelling into his lessons. Explains Hartley, up through the grades and work with different teachers, ear, mind and body––which has become central to the “I often choose a story––like the classic The Poky Little they encounter a consistent approach, common terms and music programs at both LMS and the Special Music School Puppy—and use it to teach basic rhythmic concepts such a shared understanding of how music works.” (SMS). With teaching rooted in movement and creativity, as ‘fast’ and ‘slow’. Students do exercises as if they were “Dalcroze helps people of all ages connect to music more the Poky Little Puppy, moving fast, then slow, etc. I ﬁnd As part of its commitment to Dalcroze, LMS has partnered deeply and more skillfully,” explains Farber, who is the that giving students images and characters frees up their with Hunter College so that graduate students in education director of the Dalcroze School at LMS and is on the faculty movement and helps them to improvise.” can receive credit for Dalcroze courses they take at LMS. of both LMS and SMS. Students from these classes are also given the opportunity In many ways, Dalcroze is naturally compatible with to student teach with master teachers at Kaufman Center, The Dalcroze approach to music education originated the study of theater. Says Hartley, “Through physical which allows students to beneﬁt from an even smaller with the Swiss-French composer and educator Emile movement and the expression of emotion, it shares a student/teacher ratio. Jaques-Dalcroze, who observed that even students who close relationship to acting. Dalcroze begins with the have severe trouble understanding rhythmic passages in body and is hands-on and immediate; intellectual The value of Dalcroze instruction is limitless, and there their music studies are naturally rhythmic in daily activities, understanding and reﬂection come after the physical is ample room for growth in its application at Kaufman such as walking. As a result, Dalcroze theorized that experience.” Center (current ideas include expansion of the teacher students could best be taught rhythm through exercises training program). But is Dalcroze for everyone? For adults, Dalcroze can be a way to interact with others that would tap into their inner sense of movement. He “Absolutely!” says Anne Farber. that is unlike any other experience in their lives. Through collaborated with, and in some cases taught, major artistic nonverbal communication (e.g., physical gestures), and avant-garde ﬁgures of his day–– Stanislavski, students respond to musical concepts individually, with Register now for Spring 2009 Dalcroze programs Rachmaninov, Nijinsky and Milhaud among them. Dalcroze partners and in groups. “My body became my instrument,” and other LMS classes. Visit kaufman-center.org/lucy- ultimately founded his own school near Dresden, Germany described one adult who attended the 2008 Summer moses-school or call 212 501 3360 for information. in 1910. With the advent of World War I, the school was Intensive Program, where students from Japan, England, moved to Geneva, where it continues to this day. 4 VISIT KAUFMAN-CENTER.ORG 6561winter_3:6561_Kaufman_3 11/19/08 2:00 PM Page 5 CELEBRATING A VISIT FROM MUSICAL THEATER KAUFMAN CENTER FOUNDER, DR. TZIPORA JOCHSBERGER Executive Director Lydia Kontos (left) greets Founding Director Dr. Tzipora Jochsberger Remarkably, Kaufman Center has had only two executive leaders in its 56-year history. Lydia Kontos is now in her 23rd year as Executive Director. Her predecessor, Dr. Tzipora Jochsberger, founded the organization in 1952 as the Hebrew Arts School. Kaufman Center is fortunate to have such consistent and stable leadership and continues to enjoy a close relationship with Dr. Jochsberger, who traveled from her home in Jerusalem this fall to see the results of the recent renovation. “More than 50 years ago, the Hebrew Arts School Scenes from the 2008 Summer Musical Theater Workshop (SMTW) performance, Voila! for Music and Dance began its activities with only 16 children registered, but even then our goal was Top left: Singing the school song, La Sainte Poubelle, in The Splendid Disturbance, based on one of the Le Petit Nicolas to become a major arts institution in New York City,” stories by Jean-Jacques Sempé and Rene Goscinny. Front row: (left to right) Siri Danielson, Elka Wade, Fiona Cohen, said Dr. Jochsberger. “With its splendid Merkin Zuyi Wang, Victoria Rodriguez and Alexandra Eisman. Visible in the second row are Uriel Wiltshire-Clement-Dvorozniak .S. Concert Hall, the Special Music School (P 859) and Natasha Hubatsek. for musically gifted children and Lucy Moses School, we have more than realized our vision. It is a great Top right: Nicole Flamenbaum and Anna Kopelman, as Moutard and Canard, tell jokes in order to free the Princess pleasure to be visiting from Jerusalem and to be from the monsters in Monkeys Can Do Anything. viewing the magniﬁcent Kaufman Center and all its activities.“ Bottom left: Two monsters, Polymoche and Gogotte (Amalia Baker, left, and Laura Abreu, right) are about to turn Princess Isabelle (Valerie Edelman, center) to stone because she won’t tell them a joke. The scene is from Monkeys Can A special evening in Dr. Jochsberger’s honor on Do Anything, which was based on Zephir’s Vacation by Laurent de Brunhof (author of the Babar books). September 16 included a concert by Lucy Moses and Special Music School students followed by a dinner Bottom right: In The Secret of Café Chaillot, based on the Giraudoux classic The Madwoman of Chaillot, women gather with trustees, staff and faculty members who were to gossip (Molly Model, Daniela Krausz, Ilana Naim and Sophie Jackson). involved during Dr. Jochsberger’s time as Director. Special Music School student performers included pianist Yali Levy-Schwartz (kindergarten), ﬂutist Nadira Navruzov (grade 1) and cellist Jesse Murray (grade 6). Lucy Moses School students included pianist Aurora Celestin (age 10), violinist Alice Ivy-Pemberton (age 11) and pianist Stella Wong (age 13). NEWSWORTHY Tom Jones sings “Mr. Off Broadway” from Demi Dozen The Broadway Close Up series at Merkin Concert Hall kicked off on October 6 with Karen Ziemba, Estelle Parsons and other Broadway giants performing works by Tom Jones and Harvey Schmidt, who launched their New York careers with the now-legendary musical The Fantasticks. The series continued on November 3 with Richard Maltby, Jr. and David Shire, and will The Merkin Concert Hall season opener celebrated conclude dramatically on December 8 with the ninth the 70th birthday of composer Joan Tower, who is annual Broadway Close Up: Bound for Broadway hosted shown here accepting the American Music Center’s by Liz Callaway, which will present sneak peeks at some Letter of Distinction from Ed Yim, American Music of the best new musicals headed to Broadway. Karen Ziemba performing “Flaming Agnes” from I Do! I Do! Center Board President, on September 6. VISIT KAUFMAN-CENTER.ORG 5 6561winter_3:6561_Kaufman_3 11/19/08 2:00 PM Page 6 Christina Morrissey (Lucy Moses School Dance faculty) STUDENT NOTES performed this summer in Maria Sessa’s dance piece please In Harmony is published quarterly by Kaufman Center, a nonproﬁt organization don’t play it again..., which was presented as part of Six dedicated to music education and The Kaufman Center student ensemble Face the Music Figures Theatre Company’s Futurefest. This fall, Christina performance. Kaufman Center comprises performed Terry Riley’s In C outdoors last summer as part performed with Omega Dance Company at the Cathedral of Merkin Concert Hall, Lucy Moses School of the city-wide Make Music NY Festival. This fall they also St. John the Divine. and Special Music School. played at Manhattan’s Le Poisson Rouge, opening for pianist Bruce Brubaker. A Mother’s Carol, lyrics by Clay Zambo, music by Scott Ethier Kaufman Center (both members of the Lucy Moses School Theater faculty), Goodman House was named a winner of this year’s VocalEssence and 129 West 67th Street American Composers Forum carol contest. The carol, for New York, NY 10023 mixed chorus and French horn, will receive its premiere by the 120-voice VocalEssence chorus during a series of concerts in T 212 501 3303 Minneapolis this December that will be recorded by kaufman-center.org Minnesota Public Radio for broadcast through American email@example.com Public Radio. Irina Nuzova (Lucy Moses School piano faculty) will record on Administration the Cedille label a program of Russian cello-piano music with Lydia Kontos, Executive Director cellist Wendy Warner in Chicago. This winter she will play two Kathy Hubbard, Director of Administration concerts for two hands and two pianos in Canada with pianist Erica Raven, Director of Development Luke Rosen Anya Alexeyev. Joan Jastrebski, Director of Marketing Lucy Moses School student Luke Rosen performed the role of and Communications Julia Zilberquit (Special Music School violin faculty) played Gregory D. Evans, Director, Merkin Young Shlomo this summer in Shlomo: The New Musical at piano sonatas with Mikhail Simonyan in London at Wigmore the Museum of Jewish Heritage. Shlomo tells the story of Rabbi Concert Hall Hall and in Berlin at Philarmonie Hall. She also performed Sean Hartley, Director, Theater Wing Shlomo Carlebach, a musical innovator and controversial solo and chamber music for the Bard Festival at the 92nd personality. At Lucy Moses, Luke studies voice with Shirley Igal Kesselman, Director, Lucy Moses School Street Y in New York. Jenny Undercoﬂer, Music Director, Perkins and piano with Sergei Krivonos; he has also participated in the Musical Theater Workshop and as a Kaufman Kid in Special Music School Poppy Seed Players productions. Publicity requests should be directed to Kim Smith, 718 858 2557 or Special Music School pianist Annaliese Wee (grade 2, student firstname.lastname@example.org. of Irina Morozova) was awarded an Honorable Mention in the New York Music Competition. Edited by Joan Jastrebski and Ivy Newman Written by Lizanne Hart and Joan Jastrebski Lucy Moses School/Young Artists Program pianist Stella Wong Designed by Christine Zamora, CZ Design (student of Golda Tatz) has been selected as a 2008 Jack Kent Printed by Enterprise Press Cooke Scholar. Wong also attended two summer festivals–– the Aspen Festival and the Tel Hai Festival in Israel ––where Photo Credits: Thomas Giroir (Alturas Duo), Joan she performed. Jastrebski (Omer Avital, Joan Tower & Ed Lim, Lydia Kontos and Tzipora Jochsberger, Tom Jones, Karen Special Music School pianist Luiko Yoshimoto (grade 11, Irina Morozova with student Annaliese Wee Ziemba), Glen Jussen (Luke Rosen), Joanna Kozek student of Golda Tatz) gave a recital and performed several (Ryan Cohan), Marianne La Rochelle (Sarah Cahill), Irina Morozova (Special Music School piano faculty) visited Ivy Julease Newman (Summer Music Theater chamber and solo concerts at the International Music Hong Kong this summer and gave a solo recital and several Workshops, Dalcroze photos, Christina Morrisey, Academy in Italy. master classes and teacher workshops. She also released a Irina Morozova), Joshua David McKenny (Queen Lucy Moses School pianist Luke Murray (student of Golda CD featuring virtuoso transcriptions of George Gershwin’s Ester Illustration), Joerg Grosse Geldermann-ACT (Joel Harrison), Jeroen Sheehan (Amstel Quartet) Tatz) and Special Music School pianist Gabriel Murray (grade works, which is available through amazon.com. 7, student of Golda Tatz) were enrolled at International Music Kaufman Center Institutional Funders: Altman Victor Kioulaphides (Lucy Moses School Theory faculty) had Academy in Italy, performing solo and chamber concerts Foundation, The Amphion Foundation, The ASCAP his Concerto per orchestra a pizzico featured on the summer Foundation, Axe-Houghton Foundation, The Bay & during the festival events. release of the latest CD by Het Consort, Holland’s premier Paul Foundations, Helen Blue Musique Ltd., BMI On Saturday, September 13th, at Steinway Hall, two SMS orchestra of plucked instruments. This fall, his work Antwerp Foundation, Carnegie Corporation of New York, Mary Flagler Cary Charitable Trust, Con Edison, piano students (Yali Levi-Schwartz, student of Golda Tatz; Harbor was recorded on Point of Departure featuring Edward T. Cone Foundation, Aaron Copland Fund and Annaliese Wee, student of Irina Morozova) played a mandolinist Joseph Brent and harpist Bridget Kibbey. for Music, Barbara Bell Cumming Foundation, short recital to accompany a book reading from “Henry and The Gladys Krieble Delmas Foundation, Deutsche This fall, Isabelle O’Connell (Lucy Moses School Theory Bank, Roy and Shirley Durst Performance the Steinway.” faculty) performed with the National Symphony Orchestra of Endowment, The Ferriday Fund, Ann and Gordon Ireland in a concert that was broadcast live on Lyric FM Getty Foundation, Herman Goldman Foundation, FACULTY NOTES Radio. She also performed with the Contempo String Quartet at Carnegie’s Weill Recital Hall and gave a solo recital of Goldman Sachs, The Horace W. Goldsmith Foundation, The Florence Gould Foundation, The Harkness Foundation for Dance, Libby Holman contemporary music at the Belfast International Festival. Foundation, Joint Industry Board of the Electrical Harpist Emily John (Special Music School Music History and Industry, Liman Foundation, MetLife Foundation Chorus faculty) performed two concerts in September with Dan Acquisto (Lucy Moses School Theater faculty) had two Partners in Arts Education, The Henry and Lucy her harp/ﬂute/viola trio––one at Queens College and the other shows produced this fall for which he wrote the original scores. Moses Fund, Music for Youth Foundation, Music at our own Ann Goodman Recital Hall. The performances Wild About Harry was commissioned by the 2008 New York Project for Television, Inc.; National Endowment for the Arts, New York City Department of Cultural featured works by George Rochberg, Claude Debussy, Musical Theatre Festival and is the story of “The Queen of Affairs, Edward and Sally Van Lier Fund of the Michael Mauldin and the premiere of Dave Volpe’s Gwinna. Mean,” Leona Helmsley, told through dance. Like You Like It, New York Community Trust, New York State Council co-written with wordsmith Sammy Buck, is an adaptation of on the Arts, a State agency; New York State Ofﬁce Guitarist Roni Ben Hur (Lucy Moses School Jazz faculty) of Parks, Recreation and Historic Preservation, Shakespeare’s As You Like It set at the Arden Mall in 1985. performed in November at Dizzy’s Club Coca Cola in Jazz The New York Times Company Foundation, Stavros It won the New Voices Prize in 2004. at Lincoln Center to celebrate the release of Jazz Therapy, S. Niarchos Foundation, The Fan Fox and Leslie R. Volume 1: Smile. The ﬁrst in a series of charitable CDs called Steve Brennan (Lucy Moses School Theater faculty) recently Samuels Foundation, The Morris and Alma Schapiro Fund, Adolph and Ruth Schnurmacher Jazz Therapy (released by Harlem-based MotéÈma Music), directed the world premiere of Attorney for the Damned: A Foundation, Edith Glick Shoolman Children’s the recording was made in association with the Jazz New Rock Musical, a dark, biting look at the criminal justice Foundation, The Skirball Foundation, The Starr Foundation of America. The album also features guitarist system. The musical was written by Denis Woychuck (father of Foundation, Steffens 21st Century Foundation II, Gene Bertoncini and will beneﬁt the Dizzy Gillespie Memorial Lucy Moses School students Ava and Lucy Woychuk-Mlinac) Michael Tuch Foundation. Fund at Englewood Hospital and Medical Center. and was presented for a three-month run at the Kraine Pianist Golda Tatz (Lucy Moses School and Special Music Theater. School piano faculty) spent last summer teaching at the International Music Academy in Italy. She will perform in a Last summer, Benjamin Gruder (Lucy Moses School choral series of concerts in the U.S. this winter with the Vilnius String faculty) presented a workshop at the 2008 North American Quartet from Lithuania. Jewish Choral Festival entitled “Reaching Your Audience.” Starting from the idea that music performance is essentially Mara Milkis (Lucy Moses School violin faculty) performed with acting, participants experienced ways to engage their own cellist Adrian Daurov and pianist Olga Vinokur in a chamber personalities to enable them to sing with depth and conviction music concert at Bargemusic this fall that included works by even within the conﬁnes of a choral setting. Rachmaninov, Ravel and Schubert. 6 VISIT KAUFMAN-CENTER.ORG 6561winter_3:6561_Kaufman_3 11/19/08 2:00 PM Page 7 WINTER 2008/09 Plan Your Performance The award-winning Merkin Concert Hall is available to soloists and ensembles as a DATES TO REMEMBER fully-equipped performance space. Our professional staff, world-renowned acoustics and state-of-the-art technology—including a recording studio—make the newly- Visit the new kaufman-center.org for concert details, artist information renovated hall a perfect place for your event. Rehearsal studios and reception and more. Purchase tickets online or by phone at 212 501 3330. spaces are also available. For more information please visit kaufman-center.org, (All events take place in Merkin Concert Hall unless otherwise noted.) email email@example.com or call 212 501 3345. DECEMBER FEBRUARY Mon December 1 Tue December 16 Sun February 01 Thu March 12 Winter’s Eve, 5:30 pm Tuesday Matinees: Alturas Duo, 2 pm Broadway Playhouse: Jerry Herman, Notes on the War: The Piano Protests, 8 pm The Lincoln Square Business Improvement Featuring Scott Hill, guitar, and Carlos 11 am WNYC’s John Schaefer hosts pianist Sarah District will again sponsor this grand Boltes, viola and charango Cahill, who has commissioned a group neighborhood holiday festival featuring live Concerto Competition Winners’ Concert, of today’s leading composers to write a performances, tastings at local restaurants Thu December 18 4 pm collection of pieces reacting to the war in and family activities. Kaufman Center will LMS Adult Division Piano Performance LMS and SMS student winners of Iraq, in this edition of New Sounds® Live. showcase student chamber ensembles, Recital, Ann Goodman Recital Hall, 8 pm Kaufman Center’s annual Concerto which will perform at Commerce Bank on Competition perform with a professional Tue March 17 Broadway at 68th Street. 5:30 – 7:30 pm. Sun December 21 orchestra. The New York Festival of Song LMS Adult Division Student Recital, Songs of the Irish Poets, 8 pm Sun December 7 Ann Goodman Recital Hall, 5:30 pm Tue February 10 Featuring Paul Appleby, Steven Blier, Cello master class with Dmitry Yablonsky. Tuesday Matinees: iO Quartet, 2 pm Michael Barrett, Paul Woodiel Featuring students from LMS and SMS (Ann Goodman Recital Hall), 10 am JANUARY Tue February 10 & Thu February 12 Sat March 21 The New York Festival of Song Duo-logues: Bugallo-Williams Piano Duo, Mon December 8 Thu January 8 Voices of the Jewish Diaspora, 8 pm 8 pm Broadway Close Up: Bound For Broadway, Face the Music performs works by Gordon, Featuring Dina Kuznestova, Rinat Shaham, The scintillating duo of Helena Bugallo 8 pm Kline and Lang (Merkin Balcony Gallery), Steven Goldstein, Steven Blier, Michael Barrett and Amy Williams will offer two seminal Join host Liz Callaway for the ninth 7 pm works: Igor Stravinsky’s own four-hand annual look at the best new shows headed Wed February 11 arrangement of his orchestral masterpiece for Broadway. Five new musicals will be Sat January 10 LMS Faculty in Concert, 7 pm The Rite of Spring and Olivier Messiaen’s featured, including candid interviews Midwest Meets Mideast, 8 pm LMS faculty members perform their annual Visions de l’Amen. with the writers and songs from their See article on page 2 concert in Merkin Concert Hall. upcoming shows. Sun March 22 Sun January 11 Poppy Seed Players: Yo, Jonah!, 11 am Mon December 8 Broadway Playhouse: Frank Loesser, 11 am MARCH LMS Adult Division Aria da Capo Class The kid-friendly Broadway Playhouse Tue March 24 Recital, Ann Goodman Recital Hall, 8 pm concerts are adult-friendly too, with Sun March 01 Tuesday Matinees: Amstel Quartet, sing-alongs, fun facts, games, medleys Poppy Seed Players: Queen Esther, 11 am saxophones, 2 pm SMS Mid-Year Concerts, Fri, December 5: and mini-musicals. Grades K, 4 and 7 Contemporary Music Festival, 3:30 pm Sat March 28 Fri, December 12: Grades 2, 3 and 5 Adult Jazz Program Celebration, 3 pm Students from LMS and SMS perform solo Cecil Taylor Speaks Volumes, 8 pm Fri, December 19: Grades 1, 6 and 8 Performances by adult students and faculty and ensemble music written since 1950. from Lucy Moses School’s renowned Jazz LMS Suzuki Solo Recitals, program. Tue March 10 APRIL Ann Goodman Recital Hall Annual Scholarship Luncheon, 11:45 am Sun, December 7, 3 and 4 pm Thu January 15 This annual event beneﬁts the Lucy Moses Sat April 04 Thu, December 11, 6 pm 100 Years: Olivier Messiaen and School scholarship program. The luncheon Juxtapositions in Jazz, 8 pm Sun, December 14, 10, 11, 3, 4 pm Elliott Carter, 8 pm precedes the Henry Schneider Scholarship Featuring ﬂutist Jamie Baum and Polish Thu, December 18, 6:30 pm Featuring Da Capo Chamber Players Concert (at 2:15 pm in Merkin Concert trumpeter Tomasz Stanko Hall), which features performances by young Sun December 7, 14 and 21 Thu January 29 artists-in-the-making from Kaufman Center. LMS Musicians in Concert, Vox Americana, 8 pm For more information, call 212 501 3350. Sun April 05 Ann Goodman Recital Hall, 1:15 pm Composer/guitarist Joel Harrison, Broadway Playhouse: Lynn Ahrens & Bang On a Can cellist Wendy Sutter Stephen Flaherty, 11 am Sun 14 and 21 December and alto saxophonist Oliver Lake explore Featuring an interview with the writers! Poppy Seed Players: Latkes and the common ground between classical, Applesauce, 11 am jazz and roots music. Composer Festival, 3 pm This joyous celebration of Hanukkah is Students from LMS and SMS perform works a revue of songs and scenes by some of by Spanish and Latin American composers New York’s funniest writers. Sarah Cahill, 3/12 Liz Callaway, 12/8 Poppy Seed Players, Queen Esther, 3/1 Joel Harrison, 1/29 VISIT KAUFMAN-CENTER.ORG 7 6561winter_3:6561_Kaufman_3 11/19/08 2:00 PM Page 8 Winter 2008/09 IN HARMONY Kaufman Center Newsletter INSIDE Tomorrow’s Stars Today: What Does It Mean To Be an “Emerging Artist”? Omer Avital’s Middle Eastern Afro-Jewish Blend of Chamber Jazz A Dalcroze Education: Holistic Training for Complete Musicians Celebrating Musical Theater Cecil Taylor, a reigning master of jazz improvisation, combines brilliant piano invention with provocative verbal discussion on 3/28/09 at 8 pm. Winter 2008/09 IN HARMONY Kaufman Center PAID US POSTAGE NON - PROFIT ORG.
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