memorial concert in honor of
Jesse Levine February 21, 1940 - November 12, 2008 february 22, 2009 4:00 pm Battell Chapel
Robert Blocker, Dean Robert Blocker, Dean
february 22, 2009 · 4 pm Battell Chapel Welcome Robert Blocker Henry and Lucy Moses Dean of Music heitor villa-lobos 1887-1959
Bachianas Brasileiras, No. 1 ii. Prelúdio (Modinha) Andante The Yale Cellos Aldo Parisot, Samuel Sanford Professor in the Practice of Cello, director Tribute from the American Viola Society Read by Dr. Dwight Pounds
franz schubert 1797-1828
Moment Musical in A-flat major, Op. 94, No. 2 Morey Ritt, piano Professor of Music, Queen’s College, City University of New York, and Jesse’s longtime friend and musical colleague Reflections Josh Lechner, Jesse’s son
fritz kreisler 1875-1962
Liebesfreud (Love’s Joy) Liebeslied (Love’s Sorrow) Syoko Aki, Professor in the Practice of Violin Elizabeth Parisot, Associate Professor (Adjunct) of Piano Remarks Dr. Wasif Saif, Associate Professor of Medical Oncology, Yale Cancer Center, and Jesse’s oncologist
maurice ravel 1875-1937
Kaddisch from Deux Mélodies Hébraiques Frank Morelli, Associate Professor (Adjunct) of Music, bassoon Joan Panetti, Sylvia and Leonard Marx Professor in the Practice of Hearing and Chamber Music, piano
felix mendelssohn 1809-1847
Song Without Words in D major, Op. 109 Ole Akahoshi, Lecturer in Cello Elizabeth Parisot, Associate Professor (Adjunct) of Piano Photo Tribute Alex Levine, Jesse’s son Concluding Words Robert Blocker
johann sebastian bach Brandenburg Concerto No. 6 in 1685-1750 B-flat major, BWV 1051 i. Allegro Min Jeong Cha, Raul Garcia, Mathilde Geismar Roussel, Matt Hofstadt, Bo Li, Vesselin Todorov, Edwin Kaplan, HyunJung Lee, Samuel Quintal, Christopher Williams, viola Jacob Adams and Yaroslav Kargin, viola da gamba Mihai Marcia, cello Jessica Osborne, harpsichord franz schubert arr. daniel s. lee
An die Musik Ensemble of violists representing Jesse’s four decades of teaching Daniel S. Lee, conductor The audience is invited to sing after the viola ensemble performs the two verses of the song. Words and music are on the back cover.
As a courtesy to the performers and audience members, turn off cell phones and pagers. Please do not leave during selections. Flash photography or recording of any kind is not permitted.
jesse levine Professor in the Practice of Viola
and the Youth Orchestra of Catalonia in Barcelona, Spain. As a member of the Bruch Trio he has recorded the music of Max Bruch, Jesse Levine, violist, teacher, and conductor, Rebecca Clarke, Jean Françaix, Gordon Jacob, died in November after a long fight with and Mozart for Summit Records. pancreatic cancer. As a musician, he was a total professional; as a father, husband, teacher, and Mr. Levine previously served on the faculties colleague, he was known for his loyalty, of the State University of New York at Buffalo, devotion, sense of humor, strength of Stony Brook and Purchase, and the Peabody Conservatory of Music. He presented master convictions, and compassion. classes at conservatories and festivals in Jesse Levine was Professor in the Practice of Madrid, Valencia, Barcelona, Morella, Segorbe, Viola and Chamber Music and Coordinator of San Sebastian, Cartegena and Vitoria (Spain), the String Department at the Yale School of Festival Flaine Musique (France), and the Paris Music since 1983. “Jesse dearly loved his students and Lyon Conservatories of Music. and our school,” said Robert Blocker, Dean of the School of Music. “In his quarter-century Jesse Levine was born in 1940 in the Bronx in on our faculty, he shared his commitment to New York City, to a family of first and second the highest standards of artistic excellence. His generation Jewish Polish immigrants. He was major contribution to the School of Music was raised in a home filled with music, thanks to inspiring his students to discover their distinct his father David, a cellist. At an early age, he musical voice, and his influence will be felt for took up the viola and spent his formative years studying with his beloved teacher, William generations.” Kroll. As violist or conductor, Jesse Levine performed in Europe, South America, Israel, Australia, Jesse Levine studied principally at Mannes Mexico, and throughout the United States. He College of the Arts. He also studied conducting was principal violist of the Buffalo, Dallas, with Igor Markevitch in Monaco. Early career Baltimore and New Jersey symphony highlights included summers as principal orchestras. He was the music director of several violist at Tanglewood, performing the orchestras, most recently the New Britain Stravinsky Elegy on stage with the composer Symphony Orchestra. Previously, Mr. Levine (and introducing him to his mother), as well was music director of the Norwalk Symphony as several missions to Argentina as a cultural Orchestra, the Orquesta del Principado de ambassador for the U.S. State Department. Asturias in Spain, the Chappaqua Orchestra, and the Feld Ballet. As a guest conductor Mr. A job playing the Harry Belafonte show in Levine conducted many orchestras in the New York gave him his first commercial United States and abroad. Known for his work success – he used his first payments to in contemporary music, he was frequently purchase the viola which served him for his invited to conduct the Buffalo Philharmonic entire career. In his last days, he was still Orchestra in its annual North American New teaching, giving life to what he called “viola Music Festival and participated in the annual power.” June-in-Buffalo Festival. In the dual role of conductor/teacher Mr. Levine conducted the Jesse is survived by his wife, Jill Pellett Levine, National Youth Orchestra of Spain in Madrid, his sons Alexander and Josh, and his sister Lisa the Youth Orchestra of Andalucia in Seville, Nowakowski.
remembrances
Waiting anxiously outside his studio door in the old Stoeckel Hall, I was not sure what to expect of my first lesson with Jesse. I sat in the hallway quietly, pretending to ignore the forcefulness of his voice reverberating through the creaky walls. When the previous lesson ended, the door swung open dramatically. Jesse looked at me quizzically and said in a booming voice, “What are you doing sitting on that bench? You look like you’re waiting for a bus!” I wasn’t sure how to respond to this what exactly was my alternative to sitting on the bench in this narrow hallway? Nevertheless, Jesse seemed pleased with himself for coming up with this line. So pleased, in fact, that he continued to repeat the same joke every week at the start of my lessons when, sure enough, he would open the door and I would be sitting in the same spot on that bench. I was never sure if Jesse was aware that he was repeating the line to me: each time he said it, it had an energy, humor, and exuberance as though it was a freshly conceived line being delivered for the first time. This struck me as the perfect metaphor for Jesse’s unwavering, passionate commitment and conviction in all he did as a teacher, mentor, musician and friend. We miss him dearly, but proudly carry him with us. C string power!!! Jacob Adams, MM ’06, AD ’07
teaching at Yale? He and I played concerts and jobs together throughout his lifetime, including a very hectic stint at the Palace Theatre in New York in 1959 where we played the Harry Belafonte Show. We spent a great deal of time wading through hordes of hysterical young girls all clamoring for a look at Harry. This show provided Jesse with sufficient funds to buy his viola. After he left Buffalo, he called me and expressed a desire to work in the recording studios. Being very active there at that time, I was able to help and we spent many amused hours recording all sorts of things while marveling at the fact that we were getting well paid for having such a good time! The variety was endless: Spike Lee films, television and radio commercials, as well as recording sessions with many of the biggest names in show business. I’ll never forget a chamber music rehearsal we had where I noticed that a cloud seemed to have lifted from him. When I mentioned it to him, he replied that the change was caused by a person named Jill. I remember thinking that this was a particularly important reply delivered very calmly. The change was both complete and lasting.
This past year we played the Mozart Sinfonia Concertante together midway between his Please allow me just a bit of introduction. If birthday and mine. The first time we played there was any way I could be with you, Jesse the piece together was 50 years before at knows that I would. I am a violinist, a former Mannes after working on it with his teacher, member of the New York Philharmonic and William Kroll. It turned out to be the last time most importantly, an old friend of Jesse’s we would play together and it’s a memory dating back to approximately 1954 when we that’s deeply etched in my being. The idea of were both studying at Mannes. His teaching having any sort of a rehearsal without an tendencies manifested themselves even then, injection of Inspector Clouseau is quite beyond when he instructed another friend, who was my comprehension! from Jamaica and had never eaten pasta, as to the best way to tackle the dish. Who knew that This past fall we were supposed to play a this early display would ultimately lead to his chamber music concert together and I called to
remembrances
say that I thought that he shouldn’t play. His reply was: “You don’t?” After taking the rest of the day to think about it, he called back to say that perhaps I was right. He also said that he was uncomfortable not fulfilling a commitment. I replied that even though it would be the first time in 50 years that we hadn’t played together as planned, I thought there were other considerations and that I didn’t think his reputation would be sullied by his not playing. I added: “Don’t worry, I’ll think about you on every other note.” The instantaneous reply was: “Don’t do that! Make it every third note, that way there are two for you and one for me.” Not long after the concert, I received the news which I had dreaded. Three days after that, the recording engineer who had recorded the program that Jesse had not played, called me and said: “I don’t know how to tell you this. You saw me with my headphones on tweaking the dials on my equipment, right? I don’t know what happened but the whole program is gone. There’s not even one note!” My wife, when told of this, said: “Jesse took it with him!” I fully intend to take this up with him when next we meet, since I will still need a copy! Sanford Allen
of selflessness towards a couple of cash poor young string players. Godspeed, Jesse. Martin Andersen I shall never forget my 20 years of playing violin and viola under the baton of Jesse Levine in the Norwalk Symphony. He was an incredible conductor (the best), an eloquent speaker and narrator, and a charming gentleman. His untimely passing is an inestimable loss. Elaine Arnow Jesse kindly offered wonderful advice and invaluable mentorship as I became acquainted with him during his tenure as Music Director of the Norwalk Symphony, and whenever we saw each other at recording sessions. I am most grateful and count myself lucky to have known him. Adria Benjamin
In the brief time that Jesse conducted us in the New Britain Symphony Orchestra, I believe that all of us players benefited from his strong musicianship and patient leadership. He always had perceptive observations and recommendations to make, given with respect and patience. We all came to admire his strong personality and affirmative outlook - especially when we learned of his brave struggles in his I first met Jesse Levine playing under his baton last months. As the program annotator for the in the early 1980’s. Around that time my orchestra, I was privileged to learn from his violinist colleague Phil Coonce (who also knew thoughts about the works he chose and the Levine) and I were preparing for a performance concerts he designed. And in his last concert, of the Mozart Symphonie Concertante with when he was defiant about wanting to give a the Hoboken Chamber Orchestra. We decided pre-concert talk, I was glad to be able to help to ask Jesse if we could play the piece for him him discuss the music with the audience. and get his advice. He agreed to meet with us Bruce Bellingham at his home in Weehawken, NJ, and graciously spent almost two hours with Phil and myself, I remember Jesse playing viola in my string giving valuable performance pointers and lots sextet Wir Weben, Wir Weben, while I of encouragement. He also refused to accept conducted. After the first rehearsal, stunned any payment for his time and expertise. I will by his musicianship, I told him, “That was always remember Jesse’s warm support and fantastic! Such beautiful intonation!” “Martin,” generosity that day - so fine was this example he said, “Certainly the intonation is beautiful,
but that’s a matter of course...” and of course In lessons or in conversation, Jesse was a wonderful listener, who in turn provided he was absolutely right! anecdotes to each ailment. Martin Bresnick, professor of composition Margaret Carey ’08AD Jesse’s approach to the orchestra reminded me of my last cello teacher who was professor of I studied with Jesse from 2004 to 2006 as a cello at Juilliard - a task master who never let freshman and sophomore at Yale. During you get away with anything because he knew these years, Jesse introduced me to playing the what was possible and knew you could do it. I viola, something I had never pursued seriously, played with Norwalk because of Jesse - his and taught me how to approach music-making level of professionalism made me feel I was thoughtfully. Once, in my first month at Yale, back with Buffalo Phil. I felt that again when he I overslept a 9:00am lesson. I panicked when I invited me to play with New Britain Symphony. woke up half an hour late, and phoned Jesse, I spent two summers at Tanglewood in their expecting him to be furious. He didn’t answer summer program for musicians - taking (adding to my fear), but called back ten lessons, chamber music and orchestra from minutes later, reminding me of the sunshine members of the Boston Symphony. Ozawa and blue skies outside, and telling me that I was still music director at that time and came should “just smile and enjoy the day.” Outside to conduct us once. When Ozawa walked into of the studio, we connected on issues such as the shed, you somehow knew he was there political liberalism and educational psychology. long before he reached the podium. By the He was also proud to be a fellow of Branford, time he raised his baton you felt not only the my residential college, and together we enjoyed many of Branford’s “Bring Your Professor to room change, but yourself as well. Dinner” meals there over the past few years. Jesse had what I call the ‘Ozawa Countenance’ Jesse gave me the gift of music. If it wasn’t for of just ‘looking at you’ and you know you Jesse, I would have never played viola in played well or you didn’t. Just a ‘look’ from college, let alone considered pursuing a career Jesse made me a better orchestral player or in performance. In my mind, I can still hear made me want to get better. I became a that rich, beautiful resonance of Jesse’s viola member of a new string quartet and I called playing. I miss our lessons and chats together, and asked Jesse if he had any time to hear us and I know that every time I pick up my viola, and give us advice. Jesse invited us to Yale to I owe my love for music to Jesse. play and gave us his time and valuable advice Thanks so much. refusing to accept monies we offered him for Jessica Chang, ’09YC his time. I don’t know why, but I like to think that he liked something about me. I believe it’s I remember Jesse always referring to the his way with everyone, especially when it timpani as the “fists of the orchestra”. He said privately to me that he really didn’t much care comes to music. about all of the composer’s noodling notes for I will miss Jesse for musical memories in the tympani, but what really mattered was the orchestra, his certainty of music creativity, bold entrances and playing with fearless courage. direction and personal generosity. Russ Cooper Rich Brown
I am a Spanish conductor and former Yale School of Music conducting student of Otto Werner-Müller (‘88). Mr Levine and I were very good friends, since my days at Yale as student, and the news of his illness and death made me profoundly sad. As music director of the Andalousian Youth Orchestra, I invited to Mr. Levine to conduct the orchestra many times through the years. He became extremely well known among musicians all over Spain. He, indeed, was a wonderful musician and an extraordinary person…. I am going to do whatever I can to pay homage to an honest and true friend, a great musician and one of the greatest teachers I ever had, even though he never was officially my teacher, but I learned many important things for my career as conductor from him. I would like to join the Yale community in expressing my deep sadness for the death of Jesse Levine. Juan de Udaeta ’88MM I would often see Jesse in the hallway while waiting for my own lessons with violin professor Ani Kavafian. One day I noticed that he was carrying a DVD featuring David Oistrakh, and I commented to him that Oistrakh was my favorite violinist. Almost before the words were out of my mouth, Jesse had virtually pushed the video into my hands and instructed me to keep it as long as was necessary to ensure a thorough immersion in its contents. I was struck by his generosity and true devotion to teaching; not being his student, I had no reason to imagine that he would ever think to let me borrow his Oistrakh DVD! Yet more than his DVD, he had given me an example of what a teacher is. For that I will be ever grateful. Nicholas DiEugenio ’08AD
to demonstrate correct artificial harmonics on the viola for his loyal viola section! His high standards and musical integrity are alive in our hearts - to be passed on to our students. Perhaps the details of the harmonics will be lost; but it is our time to step up to the podium and pass on the essence of the music as best we can: the character, the spark, the intensity and joy of making music. Cathy Dillon I have known Jesse over 20 years and cherish the numerous occasions when we made music together. In chamber music we covered a wide repertoire, ranging from Mozart to Kurtag and I will never forget his heartbreaking rendition of the Shostakovich Sonata. I also had the pleasure of collaborating with him as a conductor. Once in Spain he had the misfortune of accidentally putting on my tails for a long piece he conducted after intermission - at least 2 sizes too small for him. Naturally he felt uncomfortable. But for the last work (Beethoven Choral Fantasy) he got back his own jacket and I had to play in my own soaking wet tails… For years we had great laughs about this! I miss him a lot for his untimely passing. Peter Frankl, Professor of Piano
I will always associate Jesse in special ways with Schumann. The elusive eloquence of Märchenbilder, the late cycle of pieces for viola and piano, was first clarified for me many years ago in one of Jesse’s recitals in the late 1980s. The conventional wisdom which complacently narrates the decline of Schumann’s powers in synch with his mental and physical health was questioned by that performance. In a conversation he shared with me his own slight personal preference for Schumann over Brahms, an unusual stance among I so enjoyed playing for conductor Jesse Levine, musicians, and one that is partially as he was the only conductor ever to be able responsible for triggering my own
a teacher who was a consummate musician, he had one for me. He gave me Jesse’s telephone My last communication with Jesse, an email number. exchange two weeks before his death, was initiated by his reaction to my playing and My impression of Jesse was this tall guy who spoken words in connection with Schumann’s spoke with an articulation that belied his New Gesänge der Frühe, possibly the composer’s last York upbringing. Immediately Jesse became completed work. Our shared appreciation of my viola hero, friend and mentor. I had left the extraordinary emotional and musical world music for a few years, after graduating Yale, in of Schumann’s music made for a personal link 1971. And so I was on my way back into music as a profession and Jesse had the courage to tell that will preserve him vividly in my memory. me straight, that it was going to be a rough Michael Friedmann, Professor of Music ride. But that it was manageable and that he Jesse was a great inspiration to me. Having would love to take me on as a student. met him while I was still a student at Juilliard and performing regularly with the New Jersey Our ages were not that far apart and so Jesse Symphony, he gave me countless advice on the and I had a different kind of relationship. I best ways to pursue my career. It was always a emotionally treated him as an older brother pleasure seeing Jesse on the streets of New and he responded in turn. What I remember as York City and later visiting him in New Haven. a general impression was how he asked me to hold the viola more like a table. I didn’t respond The music world lost a great man. very well and still don’t to keeping the David Fein instrument too flat, but he was trying to make Jesse has gave me a lot of advice during my a point: something I realized only later. It was time at Yale, but one of the most memorable his demonstrating, with his beautiful viola and was on the day I conducted my first concert his poise as a player that convinced me that he with the Yale Philharmonia. Jesse left me a had a lot to teach and I a lot to re-examine. voice message before the concert wishing me good luck and one giggling piece of advice: When I left New York in 1979, it was because “Alvaro, make sure when you are at the podium Jesse recommended me to audition for the facing the orchestra before you conduct, if you orchestra in Puerto Rico. For him, after playing realize that the zipper of your pants is down, in the Casals Festival, the island had a very do not turn around and zip it up”. He knew special meaning, which I acquired as well. And how to make me laugh and relax for my so because of Jesse I returned to the work that concert. Since then, there is no day that I do I felt most passionate about. He used to remind not think of his words before I walk on the me that it was a gift to be able to hold the viola and play, anywhere and for anything. So enjoy stage for a concert. the moment and the vibrating instrument Alvaro Garcia ’01MM under your chin. My introduction to Jesse was from our mutual friend Sam Eisenstein, who had his violin shop It is only with the kindest and profound on 57th St, down a few floors from Jacques musical memories that I think about Jesse. Francais. Sam told me that if I was looking for Martin Goldman ’71MM fascination in the last ten years with RS.
I discovered music making with Jesse. He made me believe that I am an artist. I truly cannot express how grateful I am and how much I owe him. Noelia Gomez Gonzalez ’08AD Jesse was my viola teacher, my friend and my colleague. I met him when I played a children’s concert in Long Island where he was the conductor. We talked and found out that we grew up on the same block in the Bronx (about ten years apart). His Bronx accent came out, it seemed, only when he spoke to me. Everyone else got a combination of Lionel Barrymore and Lukas Foss. I learned to love to play the viola from hearing the sound that Jesse got and trying to imitate it. He showed me how to get that sound and I still try. When I started contracting recording sessions, I would always have him sit with me, so that I could have another chance to hear that sound up close. He was a kind, loving man and was very much loved by all those he knew. Juliet Haffner
few people who attended most of the Philharmonia performances, including out of town concerts. Among our numerous collaborations, I vividly remember his recent reading session of Tchaikovsky’s Symphony No. 5 with the Yale Philharmonia. It occurred during the last weeks of his life. When he came up to the third floor of Hendrie Hall, he looked extremely tired and drained. But as soon as he stood upon the podium he became the completely rejuvenated, energetic, and vibrant Jesse we all came to know and love. It was as if music was his magic remedy to bring him to life. I can confirm that any musician whom he encountered will never forget Jesse’s passion and love for not only music, but his students, colleagues, and the world. Jesse, thank you for your brilliant energy and incomparable passion for all that you endeavored. Shinik Hahm, Professor in the Practice of Conducting
About three or four years ago I was scheduled to play with the Newtown Chamber Orchestra. Prior to our first rehearsal I was sent a strange set of parts for a somewhat obscure Mozart aria from one of his earlier operas. It was written for two English horns. This was not possible as there were no English horns in Mozart’s day. These were perhaps written for French horns or Basset horns. Some latter day editor had likely gotten hold of and altered the originals. I carefully transposed these two parts for two oboes. With a few minor adjustments I felt it would work. My friend Linda Relyea and I played the concert following my direction that we should play with a minimum of vibrato and attempt to create a I miss his frequent visits to the Yale horn-like effect. I looked up during the Philharmonia rehearsals. His invaluable input performance to see Jesse and Jill Levine had always inspired me greatly. He is one of the graced us with their presence. I walked over to I studied with Jesse for six years, and our friendship spanned 25 years. He was a great musical inspiration in my life - but also taught me so much about simply being a good human being. I know very few great artists that are equally kind to waiters, cab drivers, children, backstage guards, and as they are to other artists. Jesse was like that - he always saw the best in everyone, and he brought out the best in his students by believing in them 100%. I hold the viola up high, thanks to Jesse! Plus he taught my son Josh to play chess at age five, for which I am forever grateful. Barbara Hamilton-Primus ’93dma
them immediately following the Mozart and briefly explained the situation. Jessie commented that the arrangement was “well done” and my playing was “beautiful and appropriate” for the piece. Wow - you could have knocked me over with a feather. Coming from ‘The Maestro,’ this was high praise indeed. Jesse was one of the few individuals whose musical thoughts and comments would matter greatly to me. He brought passion, belief and determination to all his endeavors. In the many years we worked together in the Norwalk Symphony I would always listen to his insightful comments and put them to good use in my own playing situations. He was a great man and a great musician and I am the better for having known and worked with him. God bless you Jesse, and thank you. John Hanulik Jesse is an influential part of my life every day. When I am teaching, I am constantly thinking about what Jesse would do or say. When I am feeling down, I always can hear in my mind Jesse encouraging me to pick myself up and dust myself off. He changed so many aspects of my life for the better and I am grateful every day that I was able to have him as a big part of my life. He always would tell me and other students, “Explore the possibilities.” That is something I have grown to live by musically and personally. He will always be my mentor, my teacher, and my friend. Chrysyn Harp ’00MM At play in the back alleys of the Bronx. Our mothers were sisters who lived in apartments just around the corner from each other in the northeast Bronx. Jesse would spend time in my house and I in his, but the streets of the neighborhood were where we mostly played together at and after the end of World War II. Directly facing Jesse’s house on Wallace Avenue
was a large empty lot. It was made up of dirt and brush and rubble, with a huge boulder at one end, and we thought it was paradise. We played Ring-a-levio there (and everywhere else) and used the boulder for King-of-theRock. But Jesse’s favorite game was played in a small alley entrance to the basement of a building across the street from my own apartment. It was either punchball or a modified form of stickball, in which we hit a Spaldeen up against the building wall: second floor was a single, third floor a double, etc. Smack in the center of the second floor was a partly-opened window (and when it wasn’t open, we opened it) beyond which was a hallway leading to the building’s main-floor lobby. A ball hit through that narrow slice of open window was a home run - at once the apogee of the enterprise and its most frightening moment, since the homerun hitter was required to dash through the basement door, climb to the lobby level, and scoot through the hallways to retrieve our ball, all the while avoiding the janitor who was forever on the hunt for the trouble-making kids who used the alley as a playground. (We had to avoid, as well, the wrath of the tenants whose windows faced out onto our ball field OK, their alley - the most notorious of whom was the woman known as The Faucet, who would suddenly pour down buckets of water, attempting to rain out our game but never quite dampening our spirits.) Jesse loved this game; day after day, he would knock on my door and say, “let’s go play in the alley,” until the day came when Jesse was introduced to the violin. Then the rules and rhythm of his life began to change; the skills he had developed in the alley gave way to talents that blossomed in a somewhat different arena. Alas (as we used to say in the Bronx), what the world of music was to gain, the world of stickball lost. But what Jesse never lost was his love of play. Ernie Herman
I have known Jesse since 1976 when he conducted me in the Tchaikovsky Violin Concerto with the New Jersey Symphony at their competition. Since then, I have crossed Jesse’s path again and again by serving as his concertmaster at the Norwalk Symphony Orchestra for 12 years, and also at his Chappaqua Symphony, as well as making music with him in the Mozart Sinfonia Concertante, Tchaikovsky Concerto, etc. etc. I always admired his humanity above all, as well as him as a musician. I loved, and love him dearly, and he will forever remain alive and close to my heart, and I will cherish the time when I hope I see him in the afterlife. Dr. Chin Kim I think of Jesse as one of the finest musicians I’ve ever worked with. He was a musician’s musician: a real triple threat as a fine performer/ recording artist, teacher/mentor, and conductor/ director. I enjoyed so much sitting in the cello section listening to his comments and learning from his interpretations and musicianship. In front of the orchestra he could be precise, particular, exacting, even bombastic, but whenever I approached him in person he was warm and friendly. He will be missed by those who knew him and admired him. Jane Lawson Jesse always had high expectations of everyone in the orchestra and wanted each of us to have the same high expectations of ourselves. He had his own way of getting us to watch him and listen to the ensemble. Sometimes it would be a sigh, a stare or a roll of his eyes. When he’d stop to correct something, he could tell us what was wrong and how to fix it in a descriptive comment that would make us think about the problem in a different way. This would almost always help us to solve the problem in a way that we hadn’t thought of
before. For me, this was the best part of working with Jesse and also the times I learned the most from him. Jim Marbury I had the privilege of hearing Jesse perform on so many occasions, but one particular performance has remained with me for many years. I often mentioned this performance to Jesse and it remains one of the most thrilling, dynamic, and most convincing performances I have ever witnessed. I still remember the evening as if it was last week. It may have been the first time I heard Jesse Levine perform: Lukas Foss was at the podium in Sprague Hall leading a student ensemble in his Viola Concerto, “Orpheus.” This would have been in the Spring of 1990: New Music New Haven was enjoying a successful first season and Sprague was packed. Lukas’s work requires the soloist to physically move about the stage and the violist (Orpheus) is confronted by and interacts with various members of the orchestra. Jesse was magnificent: though he was a tall and broadshouldered man, he moved throughout the orchestra while playing and he moved with the utmost grace and confidence. His moves were gentle and balletic. At the climax of the work, the orchestra built to a huge crescendo, which is followed by a Grand Pause, and Jesse launched into a fiery, fiercely difficult cadenza which was executed with the greatest of ease and with astonishing facility. I was overwhelmed at the feat that Jesse accomplished: for me, it was one of the finest examples of a great artist making a complete dedication and commitment to a work, and the result was absolutely electrifying and an astonishing display of virtuosity. Thomas Masse, ’92A.D., Deputy Dean
Jesse and I met through our mutual love of music. Right from the beginning there was an instant rapport between us concerning our music-making. There was also a very special friendship for many years. The first time Jesse conducted for me was, I believe, with the New Jersey Symphony. There was very little talking about the music and it just happened the way it should. This was the case whenever we played together from thereon in. He invited me to Asturias to play with his orchestra and we spent a lot of time together eating, drinking great Spanish wine and playing great music (and talking a lot about Mr. Heifetz). It was one of many great times we spent together. Jesse was a great musician. He was an especially great violist with a sound that was beautifully his own. He was a very special friend and I will miss him dearly. Elmar Oliveira
mentor to all of his students: unceasingly supportive in music and in life, unconditionally loving, and an honest friend whose unwavering trust in our capabilities inspired everyone to a higher plane. I think of him every time I teach the “proh-cess of playing the violah” to my students, and I know that his profound affection for music and the people around him will continue to inspire and drive me to continue to become what he always knew I would be. I miss him greatly. Anna Pelczer ’06AD OSPA - Early ’90s: Shaping the OSPA [Orquesta Sinfónica del Principado de Asturias, Spain] into a solid professional orchestra was not an easy job; 20 different nationalities, all young, talented but slightly inexperienced musicians, and at times a not very cooperative staff. Jesse did a great job! Jesse was an excellent conductor who got great musicians in the orchestra, great repertoire for us to play and the best soloists. One of the issues in Asturias was that all foreigners really needed to speak Spanish. Jesse really made an effort, although most of the orchestra musicians did speak English and the ones that didn’t (the Russians) also didn’t speak or understand Spanish at all. One time, after a really heavy week with a guest conductor, Jesse got really mad while the orchestra was trying to prima vista read through Bartok’s Concierto for Orchestra. Wanting to say that he was very embarrassed with the bad preparation of his musicians he said, in Spanish, “soy un hombre muy embarazado”. Unfortunately, embarazada means “pregnant with a child” in Spanish. It was a real “lost in translation” moment about which he could laugh heartily later on!
Jesse is the reason I still play music today. After telling me, in his typical, charmingly gruff voice that he “does not teach casual violists,” he allowed me to acknowledge and nurture the potential that he already could perceive in someone who had to write in all the fingerings for Telemann because the clef was too strange. Six years later, he was the teacher who knew me better sometimes than I knew myself, challenging me with that usual twinkle in his eye to accomplish things that I was apprehensive to even approach at the time. So often during our time together, he would say “you know, I would LOVE to play poker with you, because I can always tell what you’re thinking, even if you don’t admit it... and then I would WIN.” This challenge stuck with me, and when this past summer I won my first poker game (the first game I ever played), my first instinct was to call him, and his genuine excitement and happiness in that phone call is At Yale: something I will never forget. Jesse was this “Explore all possibilities!” Jesse’s motto and
the best advice I’ve ever had, applicable in all Asturias, Spain, there are always Jesse stories. He always spoke so eloquently of the great situations! masters of violin playing and of his colleagues His enormous generosity to and confidence in he admired. Wherever we travel, I meet violists his students was amazing! From picking us up or musicians who knew and admired Jesse, from the CT limo station to taking the whole either studied with him or heard him perform class out on pizza parties and co-signing as violist or conductor. students loans for the entire upper string Sandy Robbins department! He was always there for us, good, honest and firm and with an excellent sense of During the short time that Jesse was conductor of the New Britain Symphony, the caliber of humor too! the group skyrocketed. He was able to bring out the nuances in each piece of music as we Recent Years: August 2008: Our daughter Delphine (18 had never done before. His fine musicianship months) critically ill in the hospital with was a benefit to all of us. pneumonia, and Jesse, so very sick himself, Sharon Rondeau finding the time and strength to write to us to Mr. Levine was not only my viola professor, give us hope and to send his best wishes. but a friend and a father-figure who gave me a Kyra Philippi ’97MM “long hug” during two years. I had come from It seems to me I’ve known about Jesse all of my Brazil and I had never lived outside my birth country. What a man to help an “orphan” in a adult viola life. In the mid 1960’s I went to Buffalo as a young country with different language and culture! I member of a high school string quartet and will be devoted to my apprenticeship with him participated in an Easter Spring recess chamber eternally. Thanks to him, I am now Associate music program sponsored partly by the Professor at the Federal University of Acre and University of Buffalo and the Budapest String touring worldwide as a recitalist. Be in peace! Quartet! I started hearing about this great Be with god! You did the best of a human violist Jesse Levine, Principal Violist of the being could have done on Earth! Amen! Buffalo Philharmonic already then. I think it Dr. Savio Santoro could have been his first season, me being about 15 and he being about 25 years old! I The most memorable thing I think of when think I finally met this handsome, statuesque Jesse comes to mind is that no matter how violist years later in New York. His presence awful a joke is, he could tell it as thought it was was formidable. His beautiful, clear incredibly the funniest and most brilliant thing he’d ever proper English and fine elocution were a heard. After trying to retell one of his jokes, I complement to his beautiful viola performance. always have to say, “If you heard it the way He was passionate about life, teaching, music. Jesse told it, it was really funny!” Over the last thirty years, many times my co- Dana Marie Semos vivant, now my husband, Elmar Oliveira had occasion to create music with Jesse and always I was privileged to work with Jesse Levine for admired, respected and enjoyed the creativity more than twenty years at the Yale School of they shared. Whenever we visit Buffalo or Music. I always associate Jesse with my time at
Yale because he was the chairman of the search committee that hired me for the faculty. In fact, I think of Jesse every single time I go to work, because he was the first person to give me driving directions to 435 College Street (quite a few years before Map Quest and GPS!) Some of my fondest memories of Jesse are from our many chamber music collaborations at Yale, in Norfolk and in New York. The music making was always at the highest level and the exchange of ideas very stimulating. Somehow, the most vivid recollections I have of those times are of conversations in rehearsals and backstage before performances where the topics were wide-ranging, from music to politics from jokes to profound philosophical observations. It was obvious that Jesse cared very deeply about music, the world around him and the people in it. David Shifrin, Professor in the Practice of Clarinet and Chamber Music Jesse was the kind of friend that everyone dreams of having. He was steadfast, loyal, giving, honest, and always seemed to know just what to say and when to say it. If things were difficult, he had a way of sorting through them while making you feel comforted and safe. I always looked forward to seeing him and laughing with him, and always said goodbye feeling that I just wanted to spend a little more time talking with him. If you were fortunate enough to have Jesse Levine as a friend, you were, indeed, very blessed. Kathryn Sincell-Corwell When the student is ready, the teacher will appear... Jesse appeared at exactly the right time for me - never was there a more generous, capable person. He was a gift to me and I will never forget his many influences on me. Chris Terhune
Our favorite thing about Jesse was how he reached out beyond his own studio and supported all violists. Marvin ’80MMA and Carol Warshaw We miss Jesse every day. We miss his friendship, and his wonderful humor. We miss his jokes on our e mail. Jesse was always here for us in difficult times, and shared the good times. We will miss him as part of our family at Jewish holidays. I hope his family knows that we will always be there for them. Patricia and Jay Weiner
Donations in memory of Jesse Levine may be given to further research into pancreatic cancer. Yale Cancer Center 157 Church Street New Haven, CT 06510 www.yalecancercenter.org Pancreatic Cancer Action Network 2141 Rosecrans Ave, Suite 7000 El Segundo, CA 90245 pancan.org
An die Musik An Die Musik
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Jesse Levine performing An Die Musik with Boris Berman at the Yale School of Music Convocation September 2, 2004