Eugene Lehner, Horenstainer violin 1799 Mittenwald, Journal of a Piano Teacher from New York to California, Mittenwald, piano, Shirley Kisten, Shirley Smith Kirsten, Steinway upright piano model 1098, vintage violin, violin, word press, word press.com, wordpress

Showcasing two of my exquisite instruments (Violin and Piano)

First the violin, a 1799 Horenstainer, Mittenwald that replaced the “cigar box” I was handed as a kid. My precious teacher, Samuel Gardner selected this German original for me in Paris, France. From there, I took it to Merrywood music camp in Lenox, MA where I coached under Eugene Lehner of the Boston Symphony.

lehnerandmemerrywood

Oberlin bound, I studied briefly with Stuart Canin, (former concertmaster SFO) subsequently giving up violin entirely, shifting my emphasis to piano.

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Steinway Upright Model 1098

It cohabits with my Steinway grand in a tight-fitting Berkeley space.

Steinway upright reduced by 75 75 75 75

Mac back and Steinway pianos

Here’s the piano tuner waxing poetic about it and playing a snatch, followed by my grabbing the bench for a portion of Fur Elise.

The complete Beethoven composition is played, revealing Steinway’s heartfelt resonance.

shirley_kirsten@yahoo.com

Bel Kaufman, Claudio Arrau, Daniel Waitzman, Elaine Comparone, Eugene Lehner, Franz Mohr, Gerard Schwarz, Herbert Gardner, Indiana University, James Gardner actor, Leon Fleisher, Lillian Freundlich, Lillian Lefkofsky Freundlich, Marble Hill Projects, Marjorie Janove, Menahem Pressler, Murray Perahia, Raphael de Silva, Roselle Kemalyan, Samuel Gardner, Seagate, Seymour Bernstein, six degrees of separation, six degrees of separation in the music world, Theodor Leschetizky, Vladimir Horowitz

Shrinking degrees of separation in the music world?

The musical universe is smaller than we think. And perhaps this writing will incubate a linked chain of “connections” that will go further–especially since my relocation to Berkeley, California (September, 2012)

So here it is:

Now that I’m well past my Oberlin Conservatory student years, I notice that Lillian Freundlich, my beloved teacher during my New York City H.S. of Performing Arts era, is honored posthumously at the Peabody Institute website by students a bit younger than me.

lillianfreundlich  lil2

An Oberlin alumna, she began commuting to Baltimore, launching a second teaching career after her husband, Irwin, former Chair of the Juilliard Piano Department, passed away. That followed my relocation to Fresno in 1979. It’s no wonder that I would stumble upon Leon Fleisher, concert pianist, and Peabody faculty member when he performed on our local Philip Lorenz Memorial Concerts Series. He had spoken glowingly about my teacher.

If one went back far enough, Lillian Lefkofsky Freundlich’s piano teachers would have led to the famous pedagogue, Theodore Leschetizky, a historic name with its own treasure trove of connections. Reeling out his many students and theirs would unleash a gush of them with their tie-ins to the next generation of performing pianists. The list of virtuoso concert artists Leschetizky trained included Anna Yesipova, Ignaz Friedman, Ignacy Jan Paderewski, Artur Schnabel, Mark Hambourg, Alexander Brailowsky, Benno Moiseiwitsch, and Mieczysław Horszowski.

Horszowski crops up on a short list of Murray Perahia’s mentors. The legendary pianist had a connection to the Marlboro Festival in Vermont. (Murray was my classmate at the New York City High School of Performing Arts.)

Speaking of teachers and their descendants, I studied with Ena Bronstein before she left Fresno and continued her career at the Westminster Choir College of Rider University in Princeton, NJ. Ena, a Chilean, was a student of Claudia Arrau’s assistant, Raphael De Silva, but played often for Arrau. When Gilmore award-winning pianist, Ingrid Fliter performed in Fresno, her bio revealed studies with De Silva, and by association a connection to Philip Lorenz, former husband of Ena Bronstein. Lorenz founded the Fresno Keyboard Concerts Series and helped Arrau edit the complete edition of Beethoven sonatas.

Emigration to California and more connections.

No sooner than I had touched down in the richly fertile San Joaquin Valley, I bumped into Lillian’s Freundlich’s Oberlin Conservatory roommate, Roselle Bezazian Kemalyan, from the class of 1933.

Kemalyan had set up the Bezazian piano scholarship at Oberlin, her legacy into the Millennium. The Bezazian name, has its own reservoir of connections.

Before I had even met Lillian Freundlich through her nephew, Douglas, (a well established Lutenist) and former camper at Merrywood in Lenox, Massachusetts, I acquired my first decent piano, a Sohmer upright formerly owned by Lucy Brown, a well-known New York City based concert pianist.

Uncannily, I recently discovered that Seymour Bernstein, the revered pianist and teacher, author of With Your Own Two Hands, had taught a student, who was a former pupil of the late, Lucy Brown, and “loved her.” (Would Lucy have known Ethel Elfenbein, my first West side teacher who played on the East River concert series?) Both had made appearances at historic Town Hall.

In the same e-mail exchange, I discovered that Bernstein had used Franz Mohr to maintain his Steinway B. The piano technician turned up in Fresno in 1990, to help resuscitate my Steinway “M.” Dispatched by Steinway and Sons, after my article “How Could This Happen to My Piano?!” was published in the Piano Quarterly, Mohr had just completed a book memorializing his years as Vladimir Horowitz’s personal tuner.

Not to forget that Bernstein lists Alexander Brailowsky (a tie to Leschitizky) as one of his teachers.

Rosina Lhevinne, ushers in another gush of connections too long to tabulate, except to mention that I attended Lhevinne’s 80th birthday celebration concert at the Juilliard School back in 1960. Van Cliburn, John Browning, and Mischa Dichter, among her many illustrious students, were no doubt present at that event.

Flash forward:

portraitelainecomparone2

Having met Elaine Comparone, harpsichordist, through her Internet postings and You Tube channel a few years ago, I discovered that she played chamber music with Daniel Waitzman, recorder virtuoso, who was a Marble Hill Projects dweller when I was living there from age 5 to 19. In fact, I heard him sample three different range recorders in his apartment one afternoon when he was about 18 years old. A Vivaldi presto played on a sopranino produced an unabashed display of virtuosity.

If that wasn’t enough of a common thread, I learned that Comparone took chamber music classes with Eugene Lehner, former principal violist of the Boston Symphony Orchestra when she was a Brandeis student. Lehner coached a string quartet at the Merrywood Music Camp where I played second violin.

lehnerandmemerrywood

Toss in Diana Halperin, violinist, and Gerard Schwarz, conductor whom I knew at the HS of Performing Arts. Both eventually performed with Comparone.

Taking a journey down memory lane, I’ll never forget the day I had bumped into two ladies at the Richmond California Amtrak station as I was heading home to Fresno from my El Cerrito piano studio.

Noticing their thick Bronx accents, I edged up to them like an in-your-face New Yorker would, and inquired about their origins. No sooner than I got my answer, we were seated tightly at a small table on southbound train 712 jabbering away.

In the course of the first twenty minutes, I discovered that both women lived right beside the music school I attended as a small child which was located off Kingsbridge Road and Jerome. To my astonishment, these ladies confided that they knew the eccentric Director, Mrs. Elston who came with beaded glasses and an officious demeanor. She sermonized about a “progressive” musical education that had a political and dialectical overlay. I just sat impatiently as a 6-year old, while my mother sucked it all up.

What an amazing coincidence to meet two people who knew Elston back then! As it played out, one of the travelers became a Facebook friend and lives in Florida. The other, who relocated to Arkansas, has been out of touch.

Bel Kaufman, author of the bestseller, Up the Down Staircase, and my English teacher at the Performing High Arts school celebrated as FAME knew my great aunt Sonia, among other relatives at Seagate, (on Long Island) Ardent lovers of Sholom Aleichem’s writings gathered in a lovely setting to read and share cultural kinship (in the 1940s) No doubt music was a vital part of these convergences.

This is a good place to insert a discovery that “Musakant” was my maternal grandmother’s maiden name acquired through painstaking Genealogy research conducted by my second cousin, Leon Ginenthal. I tried to go one step further, to find out if the family owned a piano factory in Eastern Europe as had been rumored. But I was resoundingly stopped in my tracks by a Music History Professor at the City University of New York. She insisted that all arrows pointed to St. Petersburg, not remotely a part of my family’s migration. Kaput! Finished! NO CONNECTION!

See https://arioso7.wordpress.com/2011/11/09/little-apple-big-apple-mayhem-murder-and-music-my-familys-history-and-genealogy

In a less “related” Facebook driven search, I had a Page reunion with Herbert Gardner, my Orchestra teacher at John Peter Tetard JHS 143 in the Bronx. His father, Samuel Gardner, became my violin teacher in New York City. Having played with the famous Kneisel Quartet based in New England, Sam probably knew, Eugene Lehner, a long-time member of the Kolisch Quartet that played in Boston. (The New England connection)

Since Gardner Sr. made chamber music appearances at Blue Hill, Maine, where his teacher, Franz Kneisel founded the summer festival, it was no surprise that Murray Perahia would turn up in the 60s as a Blue Hill chamber musician along with his appearances at Marlboro in Vermont. (the Rudolf and Peter Serkin hub)

The Chamber Music Society of Lincoln Center is the next spin-off. Murray Perahia, Richard Stoltzman, Richard Goode, Elaine Comparone, and Andre Michel Shub come to mind. These names pop up in different locales. Stoltzman graced Fresno with a psychedelic concert, using a big screen of abstracts as an extra-musical backdrop. Perahia presented on Community Concerts here before it folded. Comparone insists she passed through Fresno under CC auspices. In one form or another she turns up as the ultimate in harpsichord playing. Goode, a close companion of Perahia more than tags along, having culled a reputation as a serious Beethoven interpreter and master class presenter.

As it happened, I heard Goode play in Karl-Ulrich Schnabel’s Masterclass at the Mannes College of Music back in the early 70s. Richard was then in his twenties, and performed the Schumann Fantasie. Speaking of Mannes, my latest connection to that music school, is through Irina Morozova, accomplished pianist and faculty member. I spotted her incredible set of You Tubes that revealed great artistry and sensitivity. She provides an additional tie-in to the Y, where I took coaching in Chamber Music from Yuval Waldman in the early 1970s, except that Morozova teaches at the Special School, known as the “other Kaufman Center on 67th Street,” not 92nd.

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Flashing back:

Herb Gardner from my JHS days, it turns out, fathered son James, whom I remember from his containment in the stroller. A well respected actor, he turned up as Facebook friends with P.A. Grad, Alexander Carney, one of our “shared” connections.

Lillian Freundlich was friends with Rudolf Serkin I discovered when I greeted him in the Green room of Carnegie Hall following his memorable performance of Beethoven’s “Waldstein” Sonata. He was so kind to embrace me and send is warm regards to her.

Peter Serkin, Rudolf’s son, was close friends with Harris Goldsmith, one of my musical companions in New York City when I was living on West 74th Street. Harris was writing for High Fidelity Magazine reviewing concerts and disks. He was pals with Murray Perahia and Richard Goode.

Murray Perahia, a year ahead of me at P.A. turned up in Fresno for a Master class, three weeks before my delivery date. In a mini-reunion of sorts, I performed Beethoven’s “Tempest” Sonata, on edge.

Jerry Grossman, cellist and youngest member of the New York Philharmonic was my floor neighbor on West 74th Street and Amsterdam. I attended “Young People’s Concerts of the Phil,” when Leonard Bernstein was music director.

Loaded with musicians, our building housed apartment dwellers with even less than six degrees of separation between them. You could apply the same to the historic Ansonia a few blocks west which was stacked with opera singers who serenaded passersby below.

Members of the Metropolitan Opera came through the Ansonia with its own wealth of connections.

Marjorie Janove, piano teacher in Portland Oregon, to whom I referred a student, received her Doctorate at Indiana University, where she studied with Menahem Pressler. I heard Menahem perform with the Beaux Art Trio in Tanglewood when I attended Merrywood Music camp.

Another favorite from the Indiana school was Gyorgy Sebok, also known to Janove, who presented Masterclasses at the Oberlin Conservatory when I was a student.

Gabriela Montero, concert pianist and improviser who performed in Fresno, was a pupil of Rosalina Sackstein, one of my family members through marriage. I played for Rosalina when she visited my uncle and aunt in Hartsdale, New York. Sackstein was Chair of the Piano Department, University of Miami.

On that note, I’ll pause until more “connections” rise to the surface from my deep-layered, fuzzy memory.

Oops, I forgot that I spotted an Oberlin alumna at Seymour Bernstein’s You Tube Channel site. He featured “Lydia Seifter,” who was a member of the Jack Radunsky “rat pack.” (A group of his students, including myself, formed a clique at the Oberlin Conservatory)

**

Enough said.

If you have “connections” to share, please send. There’s no telling where all this could lead! We might be related.

LINKS:

Most recent documented Oberlin CONNECTION: to David and Eleanor Bidwell through John Bidwell, Authors Den contributor


https://arioso7.wordpress.com/2013/01/14/a-love-story-woven-on-a-chopin-canvas-and-oberlin-campus/

My family’s genealogy

https://arioso7.wordpress.com/2011/11/09/little-apple-big-apple-mayhem-murder-and-music-my-familys-history-and-genealogy/

My High School Years:

https://arioso7.wordpress.com/2011/12/08/my-new-york-city-high-school-of-performing-arts-fame-yearbook-and-what-i-found/

Music, Life, and Memories (Recollections of Lillian Freundlich)

https://arioso7.wordpress.com/2010/12/09/music-life-and-memories-you-tube-video/

Piano teachers and students/Reluctant Farewells

https://arioso7.wordpress.com/2011/02/28/piano-teachers-students-and-reluctant-farewells/

http://www.harpsichord.org

Eugen Lehner, Eugene Lehner, Haddorff, harpsichord, Harpsichord Unlimited, interpreting Mozart, Juilliard School, Kolisch Quarter, Kolisch Quartet, learning piano, Lenox, Lillian Freundlich, Lillian Lefkovsky Freundlich, Massachusetts, Merrywood Music Camp, mind body connection, mindful piano practicing, molto cantabile, Mozart, Mozart 545 Andante, Mozart sonata in C K545, Mozart String Quartet K. 387, music, music and heart, music and the breath, music teachers association of california, musical inspiration, musical phrasing, musical phrasing and breathing, New York, New York City, New York City High School of Performing Arts, pedaling at the piano, phrasing at the piano, pianist, piano, piano instruction, piano instructor, piano lessons, piano pedagogy, piano playing and breathing, piano playing and relaxation, piano repertoire, pianoaddict.com, Pianostreet.com, pianoworld, pianoworld.com, practicing the left hand at the piano, publishersmarketplace, publishersmarketplace.com, Shirley Kirsten, Shirley Kirsten blog, Shirley Smith Kirsten, singing tone legato, slow mindful practicing, Uncategorized, W.A. Mozart, word press, wordpress.com, you tube, you tube video

Mozart memories, reflections and revisits (Videos)

Andante: second movement, Mozart Sonata K. 545 played on my Steinway, 1917, M.

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My relationship to Mozart and his music began with the violin. At the Merrywood Music Camp in Lenox, Massachusetts, only a stone’s throw from Tanglewood, I encountered Eugene Lehner, first violist of the Boston Symphony when I played second violin in a string quartet. At the time, in 1960 I was simultaneously fiddling and tickling the ivories.

In the company of more seasoned chamber ensemble, I was privileged to rehearse and refine one of Mozart’s most divinely beautiful works:

The Quartet in G, K. 387 (first movement)

Lehner, in his 50s at the time, danced around us with a warm smile, conducted as we played, cajoled, hummed, gestured in every which way to make us “sing” with warmth radiating through our very beings. He wanted each of us to give everything we had, and we did, slipping into a universe of imagination, inspiration and pure beauty. I’ll never forget the experience.

At Performing Arts High School in the mid 60s, I had the unique experience of playing the first movement of Mozart’s piano Concerto in G, K. 453 at the Winter concert where a radiance flooded the stage creating a special ensemble between orchestra and soloist. It was my second Mozartean journey that followed my having studied the Mozart Sonata in D K. 311.

My teacher, Lillian Freundlich, the next inspiring individual to flow out of my music camp experience came backstage in the glare of the spotlight to remind me of what we had worked on for months, and how all my practicing was worth the effort. (Ironically, her nephew, Douglas, a Merrywooder had led me to his aunt when I most needed a teacher to guide me through the basics of producing a singing tone)

Mozart became the staple of my practicing as I branched out following my years as a student at the Oberlin Conservatory. Once settled into my own studio apartment on W. 74th Street and Amsterdam, I selected the Sonata in A Major, K.331 composed uniquely in Theme and Variations form, with a culminating Ronda Alla Turca as the final movement.

In my confined creative space that was dominated by an imposing Steinway grand, gifted by my father, I learned the Piano concertos in D minor, K. 466, and C Major, K. 525.

From there it was on to learn and teach more of Mozart’s sonatas.

The composer has always presented a special challenge for the performer. One cannot over pedal, or under pedal his music. The Alberti, “broken chord” bass must not sound monotonous or grinding, but supply a warm underpinning for an operatically spun melody, especially in Mozart’s slow movements.

Certainly the impetus for playing Mozart in a molto cantabile style was aided by suggestions from Eugene Lehner and Lillian Freundlich.

It has also been awe-inspiring to hear the composer’s trios played with a harpsichord instead of piano, creating a timbre, that perhaps Mozart intended. I’ve included a link to performances of this genre.

In a word, I thank those who’ve helped me realize the spirit and soul of the Master’s music so that it’s realized in a style that is convincing and aesthetically pleasing.

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BIO (Eugene Lehner, Wiki)
Eugene Lehner (1906 – 13 September 1997) was a violist and music educator.

“Mr. Lehner, as he preferred to be addressed, was born in Hungary in 1906. Originally named Jenö Léner, he performed as a self-taught violinist from the time he was 7. When he was 13, the composer Bela Bartok heard him play, and arranged for him to pursue his studies formally. At the Royal Conservatory of Music in Budapest, he studied the violin with Jeno Hubay and composition with Zoltan Kodaly. In 1925, soon after his graduation from the conservatory at 19, he joined the Kolisch Quartet.

“Lehner was a violist with the Kolisch Quartet from 1926 until 1939, performed with the Boston Symphony Orchestra for 39 years (the only player to be invited to join without an audition by Serge Koussevitzky), and continued teaching chamber music at the New England Conservatory of Music and Boston University well into his retirement. Late in his life most coachings were given at his home in Newton. The modest upstairs room he coached in contained photographs covering every wall from all the quartets that he mentored – a real “wall of fame”. Lehner was widely regarded as one of the greatest living experts of the interpretation of chamber works by Alban Berg, Anton Webern, Arnold Schoenberg, and Béla Bartók, having been involved in the premieres of several of such works during his time with the Kolisch Quartet. As a member of the quartet, Lehner gave the premieres of Berg’s Lyric Suite, Schoenberg’s Third and Fourth String Quartets, Bartok’s Fifth Quartet and Webern’s Second Quartet.

“When the Juilliard Quartet was formed, they spent a summer in intensive coachings with Lehner. He advocated playing string instruments with tempered intonation, in the spirit of Bach.

“Lehner studied violin with Jenö Hubay and composition with Zoltan Kodály.”

Related Links:

A Breathtaking Camp Finale: About Merrywood

https://arioso7.wordpress.com/2011/03/09/a-breathtaking-music-camp-finale/

Mozart: The 1788 trios Elaine Comparone, Peter Seidenberg, Robert Zubrycki & The Queen’s Chamber Trio

http://itunes.apple.com/us/album/mozart-the-1788-trios/id257027599