Charles Kaufman

Total Page:16

File Type:pdf, Size:1020Kb

Charles Kaufman - you are invited - to the memorial service & celebration of life of CHARLES KAUFMAN former President & Dean of Mannes School of Music FRIDAY, OCTOBER 7, 2016 | 3PM The Auditorium, Alvin Johnson/J.M. Kaplan Hall 66 West 12th Street, New York, NY 10011 Reception to follow at The Ernst C. Stiefel Concert Hall at Arnhold Hall 55 West 13th Street New York, NY 10011 CHARLES KAUFMAN 1928 - 2 016 The Mannes School of Music community mourns the death of its former president and dean, Dr. Charles Kaufman. A legendary educator and leader, Chuck Kaufman joined the Mannes faculty in 1975, becoming president in 1980, dean in 1989 when Mannes merged with The New School, then distinguished professor in 1996, remaining on the Mannes faculty until his retirement in 2002. A man of letters, savvy, boundless energy, and lion- hearted determination, Chuck Kaufman led Mannes through existential crises, moved it to greatly improved facilities, upgraded the faculty and overall program, secured a brighter future as part of The New School, and inspired generations of professional musicians and music lovers. Simply put, there would be no Mannes today without Dr. Charles Kaufman. Chuck believed deeply in Mannes, in the important role of music in modern society, and in furthering musicological study and scholarship. To this end, we sincerely hope that you will attend our celebration of Chuck’s life and donate to The Charles Kaufman Scholarship Fund, established in memory of Dr. Kaufman to promote excellence in musicology at Mannes. Contributions can be sent to: The New School - Mannes ATTN: Gift Accounting 79 5th Avenue, 17th Floor New York, NY 10003 Kindly include Charles Kaufman Scholarship Fund at Mannes in the memo section of your check. For more and to share your memories of Chuck, please visit www.mannesschoolofmusic.wixsite.com/ RememberingDrKaufman About Mannes School of Music Celebrating its centennial this year, the Mannes School of Music is an iconic music conservatory, internationally recognized for its musical and pedagogical excellence while being deeply committed to developing citizen artists who make the world a better place. Today, Mannes is developing a new reputation as one of the most progressive schools of its kind, thanks to the rapid evolution of its overall curriculum to address the demands of what musicians need to know, understand, and be able to do in the 21st century. Founded in 1916 by America’s first great violin recitalist and noted educator, David Mannes, The Mannes School of Music’s distinguished alumni include the 20th century song writing legend Burt Bacharach; the great pianists Richard Goode, Murray Perahia, and Bill Evans; acclaimed conductors Semyon Bychkov, Myung Whun Chung, JoAnn Falletta, and Julius Rudel; music theorist and educator Carl Schachter; path-breaking jazz fusion guitarist Larry Coryell; beloved mezzo-soprano Frederica von Stade as well as the newest opera stars of today, Yonghoon Lee, Danielle de Niese, and Nadine Sierra; and Pulitzer Prize winning arts journalist, Tim Page. This year, The New School’s Mannes, Jazz, and Drama schools merged to form the College of Performing Arts. With each school contributing its unique culture of excellence, the College of Performing Arts creates opportunities for cross-disciplinary collaboration, innovative education, and world-class performances. As part of this initiative, Mannes has moved into the newly renovated Arnhold Hall in Greenwich Village, a state-of-the-art facility designed especially for the performing arts. Conservatory students experience a supportive and rigorous environment with enhanced opportunities to collaborate with other students at The New School, including those at Parsons School of Design. In its new location, Mannes will uphold its long-standing tradition of providing access to free and affordable performances for the public. .
Recommended publications
  • 2019-20 Guide to Music Schools
    The 2019-20 Guide to September MUSIC SCHOOLS 2019 Editor’s Note MUSIC SCHOOLS For our 2019-20 Guide to Music Schools, we have culled about 60 institutions from our data For those schools in the listings, you’ll find detailed information on degrees offered, available areas of study, numbers of base of nearly 1200, using a variety of criteria. The key measure across an increasingly broad students and teachers, career and post-graduate assistance, and links to social media and financial information. We also asked spectrum—from schools offering only a certificate to those with multiple Ph.D. options— each institution to describe its most “distinguishing characteristics.” We relied on the schools to tell their own stories. is quality and reputation, not necessarily size. Academy of Vocal Arts ............................................................2 Robert McDuffie Center for Strings .......................................27 Arizona State University School of Music ................................3 New England Conservatory ..................................................27 For example, enrollment may be a mere 23 students, such as at the Academy of Vocal Arts Bard College Conservatory of Music .......................................4 New World Symphony, America’s Orchestral Academy .........28 in Philadelphia, or it could be 1,600 students at the Jacobs School of Music on Indiana Henry and Leigh Bienen School of Music ................................5 Oberlin Conservatory of Music ..............................................29 University’s Bloomington campus. Running a close second in numbers to the Jacobs School Blair School of Music ..............................................................6 Pacific Region International is the University of North Texas College of Music, with 1568, followed by the University of Michigan’s School of Music, Conservatorio di Musica “Arrigo Boito” ...................................6 Summer Music Academy (PRISMA) .................................29 Theater, & Dance, which boasts 1100 music students.
    [Show full text]
  • PDF (Thumbnails)
    David Mannes Music School at 154 East 70th Street (MA040101_000020) Sign for the David Mannes Music School (MA040101_000085) David Mannes with Violin The David Mannes Music School (MA040101_000067) (MA040101_000071) Mannes School of Music Junior Orchestra (MA040101_000110) Ernest Bloch (MA040101_000073) David Mannes (MA040101_000114) David Mannes (MA040101_000115) Concert at the Metropolitan Museum of Art (MA040101_000012) Opera Performance at Mannes College of David Mannes at the Metropolitan Museum Music (MA040101_000058) of Art (MA040101_000061) Leopold Mannes (MA040101_000010) Page 1 of 8 David Mannes at the Metropolitan Museum David Mannes Teaching Piano and Violin of Art (MA040101_000062) to Children (MA040101_000113) David Mannes Holding a Violin Mannes School of Music Student (MA040101_000116) Performance (MA040101_000013) David Mannes Conducts Mannes College Mannes College Opera Students "Cosi Fan Tutte" Performance by Mannes of Music Student Orchestra Performing Mozart (MA040101_000015) (MA040101_000014) College of Music Students (MA040101_000065) Carl Bamberger Conducts at Mannes College of Music (MA040101_000057) David Mannes Playing Violin for Children The Mannes, Gimpel, Silva Trio Elizabeth Aaron at Piano (MA040101_000112) (MA040101_000063) (MA040101_000052) Mannes College of Music Students Perform Mozart's "Cosi fan Tutte" (MA040101_000011) Page 2 of 8 Edward Aldwell (MA040101_000047) Richard Goode at Piano Murray Perahia at Piano Carl Bamberger with Mannes College of (MA040101_000048) (MA040101_000049) Music Orchestra
    [Show full text]
  • A History of the School of Music
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1952 History of the School of Music, Montana State University (1895-1952) John Roswell Cowan The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Cowan, John Roswell, "History of the School of Music, Montana State University (1895-1952)" (1952). Graduate Student Theses, Dissertations, & Professional Papers. 2574. https://scholarworks.umt.edu/etd/2574 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. NOTE TO USERS Page(s) missing in number only; text follows. The manuscript was microfilmed as received. This reproduction is the best copy available. UMI A KCSTOHY OF THE SCHOOL OP MUSIC MONTANA STATE UNIVERSITY (1895-1952) by JOHN H. gOWAN, JR. B.M., Montana State University, 1951 Presented In partial fulfillment of the requirements for tiie degree of Master of Music Education MONTANA STATE UNIVERSITY 1952 UMI Number EP34848 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction Is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, If material had to be removed, a note will Indicate the deletion.
    [Show full text]
  • An Exploration of the Availability and Implementation of Undergraduate Degrees in Conducting in the United States Erik Lee Garriott University of South Carolina
    University of South Carolina Scholar Commons Theses and Dissertations 2017 An Exploration of the Availability and Implementation of Undergraduate Degrees in Conducting in the United States Erik Lee Garriott University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Other Music Commons Recommended Citation Garriott, E. L.(2017). An Exploration of the Availability and Implementation of Undergraduate Degrees in Conducting in the United States. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/4100 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. An Exploration of the Availability and Implementation of Undergraduate Degrees in Conducting in the United States by Erik Lee Garriott Bachelor of Arts Point Loma Nazarene University, 2010 Master of Music California State University Northridge, 2013 _________________________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Conducting School of Music University of South Carolina 2017 Accepted by: Donald Portnoy, Major Professor Cormac Cannon, Chair, Examining Committee Andrew Gowan, Committee Member Alicia Walker, Committee Member Kunio Hara, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Erik Lee Garriott,
    [Show full text]
  • Desire WORLD PREMIERE
    Desire WORLD PREMIERE MUSIC BY Hannah Lash LIBRETTO BY Hannah Lash, with Cori Ellison Commissioned by Miller Theatre at Columbia University © 2018 Schott Helicon Music Corporation Wednesday, October 16, 8 p.m. | Thursday, October 17, 8 p.m. Click on a section to learn more OVERVIEW SYNOPSIS NOTES CREATIVE TEAM CAST OVERVIEW Desire Wednesday, October 16, 8 p.m. | Thursday, October 17, 8 p.m The performance runs approximately 65 minutes with no intermission. A flowering garden sets the scene for the world premiere of award-winning composer Hannah Lash’s newest chamber opera. Written for a cast of three singers and string quartet, Desire grapples with the human, personal struggle of trusting oneself in the midst of doubt. The score paints a lush sonic landscape, performed by the adventurous JACK Quartet, and transports audiences to this metaphoric garden of creativity. Major support for Desire is provided by Francis Goelet Charitable Lead Trusts. Additional support is provided by the Howard Gilman Foundation. Desire SYNOPSIS Present day. Set in a bedroom without definitive boundaries. A man and a woman lie in bed. The man sleeps, while she lies awake. The woman quietly climbs out of bed slowly, careful not to wake the man. The woman moves to the outer parts of the bedroom where it is dark. A warm, cavernous environment emerges. She calls out and is surprised to hear an echo. She continues to call out, the echo responds. Is it another person? She discovers curiosities around her and wonders if they may be hiding other secrets. She then discovers a figure who seems to belong to this mysterious space.
    [Show full text]
  • Architecture Program Report for 2016 NAAB Visit for Continuing Accreditation
    Parsons School of Design School of Constructed Environments Architecture Program Report for 2016 NAAB Visit for Continuing Accreditation Master of Architecture [pre­professional degree + 90 Credits] Master of Architecture + Advanced Standing [pre­professional degree + 60 Credits] Year of the Previous Visit: ​2010 Current Term of Accreditation:​ “Master of Architecture was formally granted a six­year term of accreditation. The accreditation term is effective January 1, 2010. The program is scheduled for its next accreditation visit in 2016” (source: NAAB letter to J. Robert Kerrey, President, Parsons the New School for Design, dated July 27th, 2010) Submitted to: The National Architectural Accrediting Board Date: September 7th, 2015 Parsons School of Design ­ School of Constructed Environments Architecture Program Report September 2015 Program Administrator​: Professor Andrew Bernheimer, AIA NCARB, Director 25 East 13th Street New York NY 10003 T. 212­229­8955 ext 3888 email: ​[email protected] Chief Academic Officer of the academic unit: Joel Towers, Executive Dean, Parsons School of Design 66 5th Avenue New York NY 10011 212­229­8950 x4393 email: ​[email protected] Chief administrator for the academic unit in which the program is located : Brian McGrath, Dean, School of Constructed Environments 25 East 13th Street New York NY 10003 T. 212­229­8955 email: ​[email protected] Chief Academic Officer of the Institution: Tim Marshall, Provost and Chief Academic Officer, The New School 66 West 12th Street New York NY 10011 T. 212.229.8947
    [Show full text]
  • Lippel Curriculum Vitae April 2018
    Dr. Daniel Lippel Guitarist 340 East 105th St. #2B New York, NY 10029 Tel: 917 609 2114 Email: [email protected] web: www.danlippel.com New Focus Recordings www.newfocusrecordings.com Education 2006 Manhattan School of Music, New York, NY Degree: Doctor of Musical Arts Studio of David Starobin, D.M.A. Dissertation: “Synchronisms #10 for Guitar and Electronic Sounds and Festino: Seminal Works Featuring Guitar by Mario Davidovsky” Dissertation Advisor: Dr. Reiko Füting, Second Reader: David Starobin 1999 Cleveland Institute of Music, Cleveland, OH Degree: Masters of Music Studio of Jason Vieaux 1998 Cleveland Institute of Music, Cleveland, OH Degree: Bachelor of Music Studio of John Holmquist 1994-96 Oberlin Conservatory of Music, Oberlin, OH Performance Major, Transferred Studio of Stephen Aron, Jazz Guitar Studies with Robert Ferrazza Academic Employment 2001-2004 Manhattan School of Music, New York, Doctoral Assistantship to the Guitar Department (Facilitated guest masterclasses, substitute supervision of performance class) 1999-2001 Bowling Green State University, Ohio, Assistant Professor of Guitar (Classical guitar lessons to undergraduate performance majors, taught and coordinated guitar ensemble class and concerts) Ensemble Memberships/Affiliations see Appendix 3 - International Contemporary Ensemble (ICE), guitarist since 2005 - New Focus Recordings, co-Founder, Owner, Artistic Director, Artist, Producer, since 2003 - Flexible Music, founding member and guitarist since 2003 - Con Vivo Music, Jersey City, NJ, performing member/artistic
    [Show full text]
  • Chainbuilding: a New Building for the New New School
    Int J Polit Cult Soc (2009) 22:201–219 DOI 10.1007/s10767-009-9054-z Chainbuilding: A New Building for the New New School Robert Kirkbride & Shannon Mattern Published online: 26 May 2009 # Springer Science + Business Media, LLC 2009 Abstract Until a souring national and local economy led them to scale back their plans in 2008, The New School in New York City had been designing a new, 500,000-ft2 “signature building” intended to embody what administrators were calling The new New School, a university committed to progressive, interdisciplinary, urban, global education. The building was to offer glimpses of the horizon of academic infrastructure and media and their potential impact—structural, pedagogic, and symbolic—on the university and its communities. Although the building will not be realized in the form presented to the public in spring 2008, the design deliberations that generated that proposal offer valuable insights into how a university might reembody its ideals in a time of intense globalization and mediatization. Complementing Robert Kirkbride’s paper on the pedagogical practice of chainmaking and its historical relationship to learning spaces, we examine in this paper how media can be instrumental in wayfinding, how they can help to organize a building into various “processual” paths that reflect different approaches to learning, and how their presence in learning spaces can enhance teaching and learning. We also discuss how the building can serve as a mediator within the community, reflecting the institution’s identity and its pedagogical philosophy. Keywords Media . Pedagogy . Architecture Potential Narratives If all had gone according to plan, the exterior of the completed signature building for The New School might well have provoked the following responses from several pedestrians standing at the corner of Fifth Avenue and Fourteenth Street.
    [Show full text]
  • MTO 19.2: Koslovsky, Schenker Symposium Conference Report
    Volume 19, Number 2, June 2013 Copyright © 2013 Society for Music Theory Conference Report: “Fifth International Schenker Symposium” John Koslovsky KEYWORDS: Schenker, Schenker Documents Online, Brahms, Formenlehre , Mannes Received May 2013 (1) “Music is the living motion of tones in nature-given space” (Heinrich Schenker) [1] Three intense days of theory, analysis, and history marked the Fifth International Schenker Symposium, held at the Mannes School of Music and The New School between March 15 and 17, 2013. As the symposium revealed, the field of Schenker studies not only provides a technical basis for understanding tonal music and an analytical approach to a broad range of musical repertoires; it also engages areas of musical scholarship such as analysis and performance, historical and cultural studies, contemporary theories of form, and sketch studies. To be sure, the Fifth International Schenker Symposium attested to the vitality of Schenker studies today. [2] Thirteen sessions took place over the course of the weekend—six were devoted to a specific composer or genre, four to strictly theoretical matters, two to history, and one to a special tribute—with a total of 34 presentations (the full conference program can be found at www.schenker2013.com ). The composer- and genre-oriented sessions included approaches to Brahms, Chopin, Schumann, modal/folk music, and music of the Classical and Romantic eras. [3] Of these sessions, the one devoted to Brahms deserves special mention, as all three speakers delivered superb presentations. Edward Klorman offered a perceptive analysis of the second movement from the Clarinet Sonata in F minor, op. 120, no.1.
    [Show full text]
  • Directed by Malena Dayen Conducted by Israel Gursky Filmed at Target
    Opera in Three Acts Libretto by Arturo Colautti Directed by Malena Dayen Conducted by Israel Gursky Filmed at Target Margin Theater, Brooklyn NY Sung in Italian with English subtitles Umberto Giordano’s FEDORA Libretto by Arturo Colautti Performed at the Target Margin Theater, Brooklyn NY Streaming on November 10th, 2020 FEDORA LORIS Michelle Johnson Jeremy Brauner DE SIRIEX OLGA Marcello Guzzo Maria Brea DESIRÈ DIMITRI Samuel White Eugenia Forteza GRECH LOREK Rubin Casas Michael Gracco CIRILLO ROUVEL Brian Montgomery Jordan Weatherston Pitts BOROV A PEASANT BOY Rick Agster Kinneret Ely SERGIO NICOLA Pavel Suliandziga William Desbiens FISARMONICA Ezio Pelliteri Fedora Crew and Creative Team Artistic Director Stefanos Koroneos Director Malena Dayen Conductor Israel Gursky Lighting Designer Jon DeGaetano Assistant to Lighting Designer Matthew Deinhart Projections Sangmin Chae Cameramen Global Vision Editing Global Vision Assistant Conductor Nicole Russell Assistant to Artistic Director Danika Fernandez Graphic Designer and Social Media Assistant Darissa Townes Assistant to Artistic Director Nicole Russell Marketing Assistant Cindy Cai Fundraising Assistant Ashleigh Ayres Social Media Intern Isabella Brutch I Camerati Our sincere thanks to our foundation, corporate and individual donors who have helped Teatro Grattacielo accomplish its mission this year. Your generosity had made this production possible. The Horace W.Goldsmith Foundation The Geoffrey C. Hughes Foundation The Pizzimenti Cultural Foundation Louis Tallarini Katherine Maxwell The Dubose And Dorothy Heyward Memorial Fund Friends Of Teatro Grattacielo We especially thank the following individual donors for their generous, continuing support of Teatro Grattacielo and its mission of reviving opera masterpieces and helping emerging young artists advance their careers. John Metcalfe John Mucci Ms.
    [Show full text]
  • The Role of Adele T. Katz in the Early Expansion of the New York "Schenker School"
    The Role of Adele T. Katz in the Early Expansion of the New York "Schenker School" By David Carson Berry In 1927, Heinrich Schenker named New York as the first North American city in which his ideas were spreading, though he was not specific as to the means of transmission.l Four years later, however, the chief point of con­ tact would be clear, as Schenkerism found an institutional home at the David Mannes Music School (now Mannes College of Music) . It was there that Schenker's student Hans Weisse began teaching in 1931; starting the next year, he concurrently conducted graduate seminars at Columbia Uni­ versity. Mter Weisse's untimely death in 1940, Schenker's student Felix Salzer assumed similar duties at Mannes; he later became a professor of music at Queens College ofthe City University of New York. Through their efforts, and those of other early adherents, Schenkerian analysis gradually propagated elsewhere, first in outposts at Princeton and Yale Universities, 2 and then throughout other parts of the country. Still, the New York "Schenker School" has remained of enormous significance. Numerous Schenkerians currently active in teaching and publishing were trained in New York by such esteemed individuals as Carl Schachter, who (like his own teacher, Salzer) taught at both Mannes and Queens College. Mannes in particular has continued to be an epicenter for Schenkerian research through various events held there, such as three International Schenker Symposia (in 1985, 1992, and 1999) and an "Institute on Schenkerian Theory and Analysis" convened in 2002 as part of the Mannes Institute for Advanced Studies in Music Theory.
    [Show full text]
  • Summer Camps, Institutes & Programs
    2021 Guide to SUMMER CAMPS, INSTITUTES & PROGRAMS November 2020 Editor’s Note 2021 Guide to Summer 2021 promises to be intense. By then, having spent well over a year in a holding pattern while waiting (hoping, praying) for COVID-19 to dissipate, artists and their audiences will be hungry for the opportunity to perform, rehearse, teach, and/or listen to live music in a SUMMER CAMPS, shared environment. Fortunately, there are many opportunities being planned, and our annual INSTITUTES & PROGRAMS guide to summer camps, institutes, and programs lists nearly 300 possibilities. Keeping in mind that we assemble the information from these organizations months in advance to help you plan your summer experience, it’s always a good idea to check their individual websites before plunking down $5000 to sing in the South of France or, at the other end of the range of choices, signing up for a tuition-free youth orchestra in Los Angeles. As ever, the options are wide and enticing. As an avid (amateur) chorister, I’ve been eyeing Berkshire Choral International, which traditionally offers several major choral works to sing during specific time periods in specific locales with different conductors: Verdi in Italy, Poulenc in France, Janáček in the Czech Republic. The options for pros and/or serious students of the artform are also plentiful. Some programs specialize in strings only (check out Your Body is Your Strad—no audition required), some in bel canto (in Florence, no less!), some in marimba (Portugal), some in all disciplines (big guns, like Tanglewood and Aspen). There’s a two-week young women’s (ages 14-19) composers’ camp in Pennsylvania, a bilingual Thanksgiving camp in Québec, and we’d be remiss if we didn’t include the Beethoven Bootcamp in Virginia.
    [Show full text]