Jesse Levine Memorial Performance

Robert Blocker, Dean

memorial concert in honor of

Jesse LevineFebruary 21, 1940 - November 12, 2008

february 22, 20094:00 pmBattell Chapel

Robert Blocker, Dean

WelcomeRobert BlockerHenry and Lucy Moses Dean of Music

Bachianas Brasileiras, No. 1ii. Prelúdio (Modinha) AndanteThe Yale CellosAldo Parisot, Samuel Sanford Professor in the Practice of Cello, director

Tribute from the American Viola SocietyRead by Dr. Dwight Pounds

Moment Musical in A-flat major, Op. 94, No. 2Morey Ritt, pianoProfessor of Music, Queen’s College, City University of New York, and Jesse’s longtime friend and musical colleague

ReflectionsJosh Lechner, Jesse’s son

Liebesfreud (Love’s Joy)Liebeslied (Love’s Sorrow)Syoko Aki, Professor in the Practice of ViolinElizabeth Parisot, Associate Professor (Adjunct) of Piano

RemarksDr. Wasif Saif, Associate Professor of Medical Oncology, Yale Cancer Center, and Jesse’s oncologist

february 22, 2009 · 4 pmBattell Chapel

heitor villa-lobos 1887-1959

franz schubert 1797-1828

fritz kreisler1875-1962

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.

maurice ravel 1875-1937

felix mendelssohn1809-1847

johann sebastian bach1685-1750

franz schubertarr. daniel s. lee

Kaddisch from Deux Mélodies HébraiquesFrank Morelli, Associate Professor (Adjunct) of Music, bassoonJoan Panetti, Sylvia and Leonard Marx Professor in the Practice of Hearing and Chamber Music, piano

Song Without Words in D major, Op. 109Ole Akahoshi, Lecturer in CelloElizabeth Parisot, Associate Professor (Adjunct) of Piano

Photo TributeAlex Levine, Jesse’s son

Concluding WordsRobert Blocker

Brandenburg Concerto No. 6 in B-flat major, BWV 1051i. AllegroMin Jeong Cha, Raul Garcia, Mathilde Geismar Roussel, Matt Hofstadt, Bo Li, Vesselin Todorov, Edwin Kaplan, Hyun-Jung Lee, Samuel Quintal, Christopher Williams, violaJacob Adams and Yaroslav Kargin, viola da gambaMihai Marcia, celloJessica Osborne, harpsichord

An die MusikEnsemble of violists representing Jesse’s four decades of teachingDaniel 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.

Jesse Levine, violist, teacher, and conductor, died in November after a long fight with pancreatic cancer. As a musician, he was a total professional; as a father, husband, teacher, and colleague, he was known for his loyalty, devotion, sense of humor, strength of convictions, and compassion.

Jesse Levine was Professor in the Practice of Viola and Chamber Music and Coordinator of the String Department at the Yale School of Music since 1983. “Jesse dearly loved his students and our school,” said Robert Blocker, Dean of the School of Music. “In his quarter-century on our faculty, he shared his commitment to the highest standards of artistic excellence. His major contribution to the School of Music was inspiring his students to discover their distinct musical voice, and his influence will be felt for generations.”

As violist or conductor, Jesse Levine performed in Europe, South America, Israel, Australia, Mexico, and throughout the United States. He was principal violist of the Buffalo, Dallas, Baltimore and New Jersey symphony orchestras. He was the music director of several orchestras, most recently the New Britain Symphony Orchestra. Previously, Mr. Levine was music director of the Norwalk Symphony Orchestra, the Orquesta del Principado de Asturias in Spain, the Chappaqua Orchestra, and the Feld Ballet. As a guest conductor Mr. Levine conducted many orchestras in the United States and abroad. Known for his work in contemporary music, he was frequently invited to conduct the Buffalo Philharmonic Orchestra in its annual North American New Music Festival and participated in the annual June-in-Buffalo Festival. In the dual role of conductor/teacher Mr. Levine conducted the National Youth Orchestra of Spain in Madrid, the Youth Orchestra of Andalucia in Seville,

and the Youth Orchestra of Catalonia in Barcelona, Spain. As a member of the Bruch Trio he has recorded the music of Max Bruch, Rebecca Clarke, Jean Françaix, Gordon Jacob, and Mozart for Summit Records.

Mr. Levine previously served on the faculties of the State University of New York at Buffalo, Stony Brook and Purchase, and the Peabody Conservatory of Music. He presented master classes at conservatories and festivals in Madrid, Valencia, Barcelona, Morella, Segorbe, San Sebastian, Cartegena and Vitoria (Spain), Festival Flaine Musique (France), and the Paris and Lyon Conservatories of Music.

Jesse Levine was born in 1940 in the Bronx in New York City, to a family of first and second generation Jewish Polish immigrants. He was raised in a home filled with music, thanks to his father David, a cellist. At an early age, he took up the viola and spent his formative years studying with his beloved teacher, William Kroll.

Jesse Levine studied principally at Mannes College of the Arts. He also studied conducting with Igor Markevitch in Monaco. Early career highlights included summers as principal violist at Tanglewood, performing the Stravinsky Elegy on stage with the composer (and introducing him to his mother), as well as several missions to Argentina as a cultural ambassador for the U.S. State Department.

A job playing the Harry Belafonte show in New York gave him his first commercial success – he used his first payments to purchase the viola which served him for his entire career. In his last days, he was still teaching, giving life to what he called “viola power.”

Jesse is survived by his wife, Jill Pellett Levine, his sons Alexander and Josh, and his sister Lisa Nowakowski.

jesse levineProfessor in the Practice of Viola

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

Please allow me just a bit of introduction. If there was any way I could be with you, Jesse knows that I would. I am a violinist, a former member of the New York Philharmonic and most importantly, an old friend of Jesse’s dating back to approximately 1954 when we were both studying at Mannes. His teaching tendencies manifested themselves even then, when he instructed another friend, who was from Jamaica and had never eaten pasta, as to the best way to tackle the dish. Who knew that this early display would ultimately lead to his

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 birthday and mine. The first time we played the piece together was 50 years before at Mannes after working on it with his teacher, William Kroll. It turned out to be the last time we would play together and it’s a memory that’s deeply etched in my being. The idea of having any sort of a rehearsal without an injection of Inspector Clouseau is quite beyond my comprehension!

This past fall we were supposed to play a chamber music concert together and I called to

remembrances

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 commit-ment. 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

I first met Jesse Levine playing under his baton in the early 1980’s. Around that time my violinist colleague Phil Coonce (who also knew Levine) and I were preparing for a performance of the Mozart Symphonie Concertante with the Hoboken Chamber Orchestra. We decided to ask Jesse if we could play the piece for him and get his advice. He agreed to meet with us at his home in Weehawken, NJ, and graciously spent almost two hours with Phil and myself, giving valuable performance pointers and lots of encouragement. He also refused to accept any payment for his time and expertise. I will always remember Jesse’s warm support and generosity that day - so fine was this example

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 last months. As the program annotator for the orchestra, I was privileged to learn from his thoughts about the works he chose and the concerts he designed. And in his last concert, when he was defiant about wanting to give a pre-concert talk, I was glad to be able to help him discuss the music with the audience.Bruce Bellingham

I remember Jesse playing viola in my string sextet Wir Weben, Wir Weben, while I conducted. After the first rehearsal, stunned by his musicianship, I told him, “That was fantastic! Such beautiful intonation!” “Martin,” he said, “Certainly the intonation is beautiful,

but that’s a matter of course...” and of course he was absolutely right!Martin Bresnick, professor of composition

Jesse’s approach to the orchestra reminded me of my last cello teacher who was professor of cello at Juilliard - a task master who never let you get away with anything because he knew what was possible and knew you could do it. I played with Norwalk because of Jesse - his level of professionalism made me feel I was back with Buffalo Phil. I felt that again when he invited me to play with New Britain Symphony. I spent two summers at Tanglewood in their summer program for musicians - taking lessons, chamber music and orchestra from members of the Boston Symphony. Ozawa was still music director at that time and came to conduct us once. When Ozawa walked into the shed, you somehow knew he was there long before he reached the podium. By the time he raised his baton you felt not only the room change, but yourself as well.

Jesse had what I call the ‘Ozawa Countenance’ of just ‘looking at you’ and you know you played well or you didn’t. Just a ‘look’ from Jesse made me a better orchestral player or made me want to get better. I became a member of a new string quartet and I called and asked Jesse if he had any time to hear us and give us advice. Jesse invited us to Yale to play and gave us his time and valuable advice refusing to accept monies we offered him for his time. I don’t know why, but I like to think that he liked something about me. I believe it’s his way with everyone, especially when it comes to music.

I will miss Jesse for musical memories in orchestra, his certainty of music creativity, direction and personal generosity.Rich Brown

In lessons or in conversation, Jesse was a wonderful listener, who in turn provided anecdotes to each ailment.Margaret Carey ’08AD

I studied with Jesse from 2004 to 2006 as a freshman and sophomore at Yale. During these years, Jesse introduced me to playing the viola, something I had never pursued seriously, and taught me how to approach music-making thoughtfully. Once, in my first month at Yale, I overslept a 9:00am lesson. I panicked when I woke up half an hour late, and phoned Jesse, expecting him to be furious. He didn’t answer (adding to my fear), but called back ten minutes later, reminding me of the sunshine and blue skies outside, and telling me that I should “just smile and enjoy the day.” Outside of the studio, we connected on issues such as political liberalism and educational psychology. He was also proud to be a fellow of Branford, my residential college, and together we enjoyed many of Branford’s “Bring Your Professor to Dinner” meals there over the past few years. Jesse gave me the gift of music. If it wasn’t for Jesse, I would have never played viola in college, let alone considered pursuing a career in performance. In my mind, I can still hear that rich, beautiful resonance of Jesse’s viola playing. I miss our lessons and chats together, and I know that every time I pick up my viola, I owe my love for music to Jesse.Thanks so much. Jessica Chang, ’09YC

I remember Jesse always referring to the timpani as the “fists of the orchestra”. He said privately to me that he really didn’t much care about all of the composer’s noodling notes for the tympani, but what really mattered was the bold entrances and playing with fearless courage.Russ Cooper

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

I so enjoyed playing for conductor Jesse Levine, as he was the only conductor ever to be able

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 musicians, and one that is partially responsible for triggering my own

fascination in the last ten years with RS.

My last communication with Jesse, an email exchange two weeks before his death, was initiated by his reaction to my playing and spoken words in connection with Schumann’s Gesänge der Frühe, possibly the composer’s last completed work. Our shared appreciation of the extraordinary emotional and musical world of Schumann’s music made for a personal link that will preserve him vividly in my memory. Michael Friedmann, Professor of Music

Jesse was a great inspiration to me. Having met him while I was still a student at Juilliard and performing regularly with the New Jersey Symphony, he gave me countless advice on the best ways to pursue my career. It was always a pleasure seeing Jesse on the streets of New York City and later visiting him in New Haven. The music world lost a great man.David Fein

Jesse has gave me a lot of advice during my time at Yale, but one of the most memorable was on the day I conducted my first concert with the Yale Philharmonia. Jesse left me a voice message before the concert wishing me good luck and one giggling piece of advice: “Alvaro, make sure when you are at the podium facing the orchestra before you conduct, if you realize that the zipper of your pants is down, do not turn around and zip it up”. He knew how to make me laugh and relax for my concert. Since then, there is no day that I do not think of his words before I walk on the stage for a concert.Alvaro Garcia ’01MM

My introduction to Jesse was from our mutual friend Sam Eisenstein, who had his violin shop on 57th St, down a few floors from Jacques Francais. Sam told me that if I was looking for

a teacher who was a consummate musician, he had one for me. He gave me Jesse’s telephone number.

My impression of Jesse was this tall guy who spoke with an articulation that belied his New York upbringing. Immediately Jesse became my viola hero, friend and mentor. I had left music for a few years, after graduating Yale, in 1971. And so I was on my way back into music as a profession and Jesse had the courage to tell me straight, that it was going to be a rough ride. But that it was manageable and that he would love to take me on as a student.

Our ages were not that far apart and so Jesse and I had a different kind of relationship. I emotionally treated him as an older brother and he responded in turn. What I remember as a general impression was how he asked me to hold the viola more like a table. I didn’t respond very well and still don’t to keeping the instrument too flat, but he was trying to make a point: something I realized only later. It was his demonstrating, with his beautiful viola and his poise as a player that convinced me that he had a lot to teach and I a lot to re-examine.

When I left New York in 1979, it was because Jesse recommended me to audition for the orchestra in Puerto Rico. For him, after playing in the Casals Festival, the island had a very special meaning, which I acquired as well. And so because of Jesse I returned to the work that I felt most passionate about. He used to remind me that it was a gift to be able to hold the viola and play, anywhere and for anything. So enjoy the moment and the vibrating instrument under your chin.

It is only with the kindest and profound musical memories that I think about Jesse.Martin Goldman ’71MM

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

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

I miss his frequent visits to the Yale Philharmonia rehearsals. His invaluable input always inspired me greatly. He is one of the

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 horn-like effect. I looked up during the performance to see Jesse and Jill Levine had graced us with their presence. I walked over to

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-the-Rock. 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 home-run 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 broad-shouldered 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

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 something I will never forget. Jesse was this

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!

At Yale:“Explore all possibilities!” Jesse’s motto and

the best advice I’ve ever had, applicable in all situations!

His enormous generosity to and confidence in his students was amazing! From picking us up from the CT limo station to taking the whole class out on pizza parties and co-signing students loans for the entire upper string department! He was always there for us, good, honest and firm and with an excellent sense of humor too!

Recent Years: August 2008: Our daughter Delphine (18 months) critically ill in the hospital with pneumonia, and Jesse, so very sick himself, finding the time and strength to write to us to give us hope and to send his best wishes.Kyra Philippi ’97MM

It seems to me I’ve known about Jesse all of my adult viola life. In the mid 1960’s I went to Buffalo as a young member of a high school string quartet and participated in an Easter Spring recess chamber music program sponsored partly by the University of Buffalo and the Budapest String Quartet! I started hearing about this great violist Jesse Levine, Principal Violist of the Buffalo Philharmonic already then. I think it could have been his first season, me being about 15 and he being about 25 years old! I think I finally met this handsome, statuesque violist years later in New York. His presence was formidable. His beautiful, clear incredibly proper English and fine elocution were a complement to his beautiful viola performance. He was passionate about life, teaching, music. Over the last thirty years, many times my co-vivant, now my husband, Elmar Oliveira had occasion to create music with Jesse and always admired, respected and enjoyed the creativity they shared. Whenever we visit Buffalo or

Asturias, Spain, there are always Jesse stories. He always spoke so eloquently of the great masters of violin playing and of his colleagues he admired. Wherever we travel, I meet violists or musicians who knew and admired Jesse, either studied with him or heard him perform as violist or conductor. Sandy Robbins

During the short time that Jesse was conductor of the New Britain Symphony, the caliber of the group skyrocketed. He was able to bring out the nuances in each piece of music as we had never done before. His fine musicianship was a benefit to all of us.Sharon Rondeau

Mr. Levine was not only my viola professor, but a friend and a father-figure who gave me a “long hug” during two years. I had come from Brazil and I had never lived outside my birth country. What a man to help an “orphan” in a country with different language and culture! I will be devoted to my apprenticeship with him eternally. Thanks to him, I am now Associate Professor at the Federal University of Acre and touring worldwide as a recitalist. Be in peace! Be with god! You did the best of a human being could have done on Earth! Amen!Dr. Savio Santoro

The most memorable thing I think of when Jesse comes to mind is that no matter how awful a joke is, he could tell it as thought it was the funniest and most brilliant thing he’d ever heard. After trying to retell one of his jokes, I always have to say, “If you heard it the way Jesse told it, it was really funny!”Dana Marie Semos

I was privileged to work with Jesse Levine for more than twenty years at the Yale School of 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 collabo-rations 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 Center157 Church Street

New Haven, CT 06510www.yalecancercenter.org

Pancreatic Cancer Action Network2141 Rosecrans Ave, Suite 7000

El Segundo, CA 90245 pancan.org

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Text by Franz von SchoberMusic by Franz Schubert

Translation by Richard Cross

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