Kurt Muroki
kurtmuroki@hotmail.com
917-664-5167
Thank you for sharing your thoughts with us all
Kirsten S. Paige
ks.paige@verizon.net
212-477-6646
I started studying with Mr. Mensch when I was 12. My first lesson with him was in August of 2001, only a few months after I found out that I had been accepted into his studio for Juilliard Pre-College. I called him up and he told me to come over to his apartment at 4:00pm. During that first lesson he changed EVERYTHING about how I stood, held the bow... everything. I was so frustrated! I thought that there was no way I could ever make this work out. My lessons were like that for the first few weeks of Pre-College, and, once juries rolled around that first May, I couldn't have been happier. He gave me this concerto, Cimador, to work on and I was so proud of myself for finishing it in time for juries. When I went into my jury that first time, I was terrified. I must have gone completely pale when I walked into the room to play in front of Mr. Mensch, Bret Simner and Eugene Levinson. Bret I wasn't worried about because he helped me carry my things to the stand and told me everything would be OK, but I was worried about making a fool of myself in front of Levinson (who I hadn't played for since auditions) and disappointing Mr. Mensch. I played my piece and, honestly, I can't remember if it was good or bad, but when I walked out of the room (Mr. Mensch was sitting on the end of the table closest to the door), Mr. Mensch gave me that nod of his and I saw that twinkle in his eye and I knew I had done a good job. The next day, I was taking the train home from school and I got a call from my Mom telling me that Mr. Mensch had left a message on our answering machine abotu my jury. It went something like this: "This is a message for Kirsten. This is Mr. Mensch. I wanted to congradulate you on such a nice, wonderful jury. You played a very good jury today and I'm sure you must have scored an A. I think it's remarkable how you played in front of everyone and I wanted to congradulate you and tell you how much I thought of your work. Incidentally, I will have two tickets I promised you but I thought, if it wasn't inconveniencing you, you could come by the studio at, say, 11:30 because I'll be preparing Tomoya because Tomoya has a concert that night (this was the Koussevitzsky concert that Tomoya played so well in). I just thought it would be better to come by on Saturday if you could by on Saturday to Room 216 because of all the excitement before teh concert because he has a concert to play. So if you could come by Saturday at 11:30 to the studio or you can tell me what's conveient for you. I'll repeat --" The message was cut off there because he used the entire tape up. After getting that message from him, I knew that my life would be changed forever by this remarkable, kind, generous, wonderful man who I have had the sincere pleasure of calling my teacher.
NEW YORK DAY BY DAY By SUSAN HELLER ANDERSON AND FRANK J. PRIAL Published: March 17, 1984 New York Times Stringed Subway Rider Homer Mensch walked gingerly through the Times Square subway station, then wheeled his double bass onto a No. 1 IRT train. Mr. Mensch is over 6 feet tall, about the same height as his instrument. ''Oh, I take it on the subway all the time,'' he said, ''It is a bit cumbersome.'' The bass fiddle, he said, is an Italian Gagliano, dated 1710. Mr. Mensch, who played in the New York Philharmonic from 1966 to 1975, teaches double bass at the Juilliard School, Mannes College of Music, Yale University and the Manhattan School of Music. ''Usually, people are very tolerant,'' he said, clutching the bass during a sudden lurch. ''But when it's crowded, sometimes they suggest I take up the flute.''
STILL ON THE BEAT: Dazzling audiences with their technical wizardry, older classical artists are carrying on treasured traditions By Jeremy Caplan .... For centuries, classical music has been an art form that reveres its old masters, those gifted few like Vladimir Horowitz, Yehudi Menuhin and Pablo Casals whose performances, like fine wine, improve with age. And as musicians train their muscles for ever longer careers, an unprecedented number of older talents reign on the concert scene. While prodigies as young as 6 draw crowds with their youthful showmanship, many of music's eldest statesmen are over 80--and still playing their best. Not only do these vital virtuosos continue to perform, but most also teach, providing a critical link to a celebrated musical past. Bass player Homer Mensch, 89, learned orchestra playing from conducting greats Arturo Toscanini and Leonard Bernstein. Sandor grew up studying piano at Budapest's Liszt Academy with Bela Bartok, one of the 20th century's greatest composers. "[Bartok] listened to you and then played whatever you were trying to play," says Sandor of his teacher. "Technique is a difficult thing to put into words." ... From the Mar. 15, 2004 issue of TIME magazine
Jeffrey Levine
basscomp@rcn.com
I took lessons from Homer for a few months after I came to NYC in the late sixties. They were the most valuable hours I spent as a student and as a person beginning a professional career. Homer was direct, honest, empathic, challenging, insightful, and he had the highest standards, for himself and his students. I regret that I will be away from New York for the memorial, but, my thoughts will definitely be there.
Bret Simner
bcsimner@yahoo.com
11C. I may forget a lot of things, but I am almost positive that it was apartment 11C. I was 18 when I took my first lesson with Mr. Mensch. To say I was nervous would be an understatement. One of my teachers referring to him as "perhaps the best bass teacher in the world” didn’t make it any easier. Even if I have the apartment number wrong, it doesn’t matter, because be it eleven floors or a thousand- standing in that elevator watching the numbers go by, it felt like forever. To someone who never played for him I wouldn’t really know how to describe the feeling. Being in the elevator or in the lesson, the feeling that Homer Mensch gave to a student was enormous. The man had such a presence-- from the iron handshake when he greeted you at the door to the way he was always looking at you--even if his eyes were pointed toward the infamous black spiral notebook. He knew how to make you work. It is funny— for years I thought that he was Jewish because he had a way of making a student feel Sooo guilty for not practicing in a way that I thought only a Jew really could. It was this calm “<breath> boy….<breath> well…. I guess you were distracted by other things this week and didn’t have much time for the bass….<sigh>….I’m sorry about that….”. The one number I DO remember is 217—the room I taught in next door to Mr. Mensch on Saturdays at Juilliard. For two years, however, we shared 216. Homer would teach in the mornings, and I would teach in the afternoons. When Connie Mensch passed away the Funeral was on a Thursday. I figured that the room would be free in the morning the following Saturday, because there was NO WAY someone could teach two days after that—not even Homer. Well…. I was wrong. There he was… same chair same time….. same man. That was Homer Mensch-- he loved his bride and he loved his students—every one of them. He was pure class through and through—perhaps one of the last real 20th century gentlemen. My thoughts and prayers go out to Judy, Kurt, Rachel, and all who are attending to things in the coming weeks and months. Maybe words fall short of saying what I want to say more simply: Mr. Mensch, thank you for taking the time for me when I wouldn’t have taken the time for me. I’m going to really miss you.
Samuel Lang Budin
I never had a lesson with Mr. Mensch, and I don't believe I ever spoke to him beyond our introduction, when my hand was completely enveloped in his. Nor was I a remarkable enough bassist to have merited his attention. Nevertheless, during a year and a half of Saturdays at Juilliard Pre-College, he never once failed to have a smile for me.
Mark Bernat
mkbernat
(678)230-5937
Very few teacher-mentors can claim to have enjoyed such respect,gratitute,devotion,and love,as Homer Mensch. The reason for that is simple.Mr. Mensch,(as I always called him)was totally devoted to his students.I remember when he helped me prepare for an audition I had with Zubin Mehta,for the Israel Philharmoniic.At the time he had some back problems,so I would go to his apartment, where he would work with me while laying down(with pain)in his bed.Needless to say,he was extremely proud when I got that job.I'm also lucky to have known his wonderful wife,Connie. Perhaps she brough out his softer side,together they were a great couple.Homer Mensch leaves a great legacy as a teacher.I am forever proud and greatful to call myself a Homer Mensch student.Thanks Mr. Mensch! Mark Bernat
Heidi Rogers
heidirogers@frankmusiccompany.com
212-582-1999
As a 26 year old taking over Frank Music Company in 1978, I felt extremely fortunate to have Homer Mensch as one of my favorite visitors, particularly during my first few years in business. He had a rare combination of kindness, intensity, intelligence and courtliness that is all too rare in our frazzled world. I last spoke to him about a year ago; he wanted to come down and "look through a bunch of music" is how he put it. As always, it was a great joy to see him and though obviously older (both of us!), he was as elegant and charming as always. Wherever you are, Homer, keep twinkling...you will be greatly missed.
Ken Smith
support@kensmithbasses.com
(215) 453-8887
This is sad news but knowing how long he lived and how many people he taught, helped and touched lessens the grief. I first heard his name when a fellow student in HS Music&Art Orchestra ( c.1966)told me she was taking lessons with him. Years later when I was doing studio work, I had the pleasure of working beside him on a Jingle as I was Playing Electric Bass and he was on DB. The Contractor told me Homer was 1st call in NY for DB work. Throughout my Career I got to work one time in a Section with him on a Jingle and even got calls for other Jobs when he would be asked to recommed someone in his place as he WAS the source for DB work in NY. He was one of the kindest human beings I had met and so humble as well. Almost everyone I had met in my years as a player had studied with Homer at either one of the Colleges he taught at, privately or both. He was a Talent we will all miss. I regret not having studied with him but on the other hand thankful that I had the chance to meet and work beside him.
Rob Ross
rross@juilliard.edu
My words will echo the tens or hundreds or thousands of people who choose to leave their thoughts on this page: Mr. Mensch was a truly special person, a dedicated teacher and wonderful human being. We in the Pre-College office expected his weekly visits asking for photocopies of music, a last-minute plea for extra financial aid or just a quick check-up on a student. "Bob," (he called me Bob from time to time), "how's _____ doing in orchestra? Jeesh, I'll tell ya that kid is something!" And of course, a strong handshake was always part of the transaction. Thank you for your unyielding dedication to generations of students. We'll all miss you, Mr. Mensch.
Chubby Jackson on Homer Mensch: How did I start? I’ll tell you—essentially, I’m a very lazy man. At that time, when I was a young boy, seeing the bass player play “boomp—boomp—boom—boom—boom”, I said: “Well, he’s not blowing an instrument, he’s not overworking—that seems to be such an easy way out.” And I chose the bass —for that purpose alone, really. But then, all of a sudden, I discovered that it was one of the hardest instruments to play, because the strings were hard to push down and you really had to exert quite a bit of brute strength to get any element of sound out of it. By this time, though, it was too late; I’d already been bitten by the bug of playing bass—so I had to really pitch in, study and get to it. I studied with a gentleman by the name of Homer Mensch; at the time he was a young man of twenty–nine, who had played already four or five sessions with the New York Philharmonic Orchestra—French bow. He was a very nice man, with a great deal of patience on my behalf—he asked me what I wanted to do with bass, and taught me that. I told him I wanted to be a jazz player, to play in a big band, and have fun. And he said: “Well, you might as well learn where the notes are, no matter what kind of style you want to play.” With a very jolly attitude, he used to play his bass, and I’d play mine, every time I went over to his home for a lesson. It made it a lot easier for me, took away my complexes of not knowing my lessons, things like that. I haven’t seen him in quite a number of years, but I do give him a great deal of credit for whatever I’ve stumbled into in my life.
Judy Sugarman Bassbar@aol.com Good morning Judy. I don't know if you know the name of John Clayton. John is a dear friend, (a friend of Jay's--who just had a birthday by the way) a wonderful composer, arranger and bass player. I believe he was President of the bass players ass'n at one time. Anyway, this was his response to your note to me about Homer. "Thank you for this. I met Homer once. He was one of the few classical players in NY who respected players of any race, creed or style. He was close to The Judge, taught most of the great jazz players in NY and did a ton of studio work, as well as teaching. He was a NY bass icon. Again, thanks for passing it on." John
Paul Robinson
robinson.17@osu.edu
(614)486-1704
Mr. Mensch was an inspiration to me when he guided me through graduate work in the 1970s. I was in the United States Navy Band in Washington, D.C. at the time and would travel to his home in New York for lessons. As with other students of his during this period,I experienced those occasional lessons from the dedicated teacher lying flat on his back. He attributed some of his back problems to the frequent lifting of his bass in and out of his car. I remember telling him once that I wanted to experiment with amplifying my bass with each string going to a different amp and speaker. He sold me his Toby pickup. (Remember those?.....4 huge magnets, one under each string, so that I could wire them separately. That pickup also came in handy at times when a show conductor wanted to "hear a Fender," but "see an upright"). Mr. Mensch was always finding ways to encourage students with new or different ideas. I was fascinated with such things as his experimentation with "metal hair" on the bow. Whether or not these ideas panned out was secondary to the thought of trying new things and evaluating the results. Throughout it all, his wife Connie was there to back up his mentoring. They were a supreme couple and both are missed.
John Grillo
Johngrillo@yahoo.com
412 606 1725
My connection to Mr. Mensch goes back to my first days of studying the bass. One of my first teachers, Ken Swartzman, talked about him all the time. One of my first dreams as a musician was to meet him. When I finally met him I was so excited I couldn't sleep. He was so nice and gentle. I later studied with him at Julliard pre-college and I treasure the time I played for him. His legend will live forever. My thoughts and prayers are for all those who will miss him dearly. Thanks for the forum to express my thoughts. Never forget the slack of the string!!!! John Grillo
Matthew Way
mrway830@yahoo.com
(917) 593-8589
"Sounds like you haven't been doing your long bows." Maybe this is something all of us have heard before. The feeling of excitement and joy inside before a lesson with Mr. Mensch was overwhelming at times. I remember the first time meeting him at his home (a very cold December,1996). Connie had the plastic laid out for my bass. I was with my Mom and a friend. We all greeted (he crushed my hand) and then went to work. I played some Shostakovich Sym. 5 for him. (Connie was hosting my Mom and friend in the living room.....I was getting schooled!). I had an audition the next morning for a youth orchestra I was performing with (there were 12 basses, we were performing this symphony in Carnegie Hall with Lucas Foss conducting). The next morning I played my audition and I was asked to be the principal bass. Im sure this was because of the help I recieved from Mr. Mensch. After my lesson I knew that this was the beginning of a long relationship. We spent the next 6 years together. He was an incredible man who I never wanted to disappoint. Mr. Mensch made me so proud of being a bassist. I will dearly miss you.
Robert Wenger
robertwenger@earthlink.net
This is a link to a brief interview with Mr. Mensch in the December 2005 Juilliard Journal: http://www.juilliard.edu/update/journal/portrait_fac_0512_Mensch.html
I was very sad to hear that Mr.Mensch passed away. I hope that all of us remember that all we students of his will be a continuing testament to his great talents as a teacher of the double bass.I think he cared for us as much as he cared for the playing of the bass, and as we all remember from his lessons, that was more than any of us could imagine. I will always be thankful to be included in his family of bass players. Roger Cline, Member, Chicago Symphony Bass Section
I was greatly saddened by the loss of Homer. I grew up with Homer Mensch as a household name and frequent visitor to the Kolstein house and shop. Homer knew my father Sam, long before I was even born. Homer throughout my life was always a magnanimous gentleman in every aspect. Although I was saddened by Homer's passing, I thought to myself that this was a time of celebrating the life of such a great man. All of us in our lifetimes, can only hope to touch a small portion of lives in such a positive manner as Homer did. I am so honored to have known Homer and will greatly miss him. He has left a legacy among his friends, students, and peers, but more so had such a positive affect upon all those that were so fortunate to have their lives touched by this great man. Barrie Kolstein
Mackenzie Aliano
KenzieBass@aol.com
When I auditioned for the Juilliard pre-college in the spring of 2005, people told me that Mr. Mensch would not be taking any new students in the fall. I was so thrilled to receive a letter that not only informed me that I was accepted by Juilliard, but that Homer Mensch would be my teacher. My lessons with him this fall, despite his age and illness, were truly inspiring. I looked forward to every Saturday because I knew that I would get to spend an hour with Mr. Mensch. As his last new student, I promised him that I would do my best to make him proud by continuing to work on the music he gave me until I feel that is worthy of a “thatta girl”! Even though I wish he had been my teacher longer (most of my lessons were at his bedside), I am grateful that he taught me at all and that I had a short amount of time in the presence of greatness.
Leanna Wong
banana_bass@yahoo.com
(604)437-1065
I wasn't a student of Mr. Mensch, but I always saw him around Juilliard while I was a student there. Whenever I think of Mr. Mensch, I always recall this one incident where I was walking out behind Juilliard on West End Avenue in the "wind tunnel." It was cold and looked like a storm was on its way. The wind current streaming up the street starting picking up and since I was the only one on the street, I just wished that someone, anyone, would walk nearby. Then all of a sudden, a familiar face appeared around the corner... it was Mr. Mensch who just came out of his apartment on 67th street, looking equally surprised to see me. I remember feeling the comforting reassurance of the warmth of his smile juxtaposed with the cold of the blustering wind... I used to always be amazed at how he could keep track of everything, because he looked a little fragile.. but every masterclass, he would have a poster nailed on the wall in his handwriting that could only have been by someone who was from the old NBC generation. He had intensity, humour and warmth.. he was a true Mensch.
Lisa Johnson
JohnsonL@newschool.edu
Friends and students, It was my great honor to speak at the service yesterday. Here are my remarks. ****** Greetings. My name is Lisa Johnson, and I am the Associate Dean at Mannes. On behalf of Dean Joel Lester, who is with us here; the faculty, staff, and especially the bass students at Mannes -- thank you for the opportunity to share a moment with you today. In the ten years I worked with Homer in my capacity as Associate Dean, I was struck again and again by the central presence he occupied in your world -- the bass world. He created a wave of musical energy that touched so many generations of students. I have not yet met another teacher with the widely-encompassing impact and fierce loyalty that he earned, possessed, and reflected back – with students in major orchestras currently all over the world, and generations of students who are now also important teachers themselves, many of them teaching in each of the New York conservatories. Indeed, can any of us name another person with three generations of students who also remained as current as Homer Mensch? He never left his spot as king of the mountain in his lifetime. In a world of thoroughbred master teachers, he was a world apart. Homer Mensch joined the Mannes faculty in 1976, teaching scores of private students and also the bass studio class, right up through the current fall semester. There are several students here today -- Ryan, Katharine, Viktoriya, Ki Yong: you had lessons with him even recently. In conversations of just weeks ago, Mr. Mensch told me himself how much he valued and respected each one of you. You students represent the inheritance of the historic lineage that comes down directly to you through your teacher from the likes of Toscannini, Heifitz, and Boulez, and through the great traditions of the Pittsburgh and New York Philharmonic orchestra, and so many other important ensembles. This inheritance is a vibrant, living jewel, that is now literally in your hands – and in your fingertips and in your bows. You are alive to live it and carry it on. We see that this kernel of authenticity does not die with the individual, no matter how great, how beloved, how long-lived or influential, as was the case of Homer Mensch, whose life we celebrate today. Rather, this kernel must be revived every day through individual practice, performance, and, for some of you, through the teaching of others. It has to be lived to be real. You are the benefactors of a great heritage such as we know only rarely, if ever, in our lives as musicians. How lucky we were to know him. Your charge and your privilege is to refine this kernel of energy through your daily work. It is your joy and equally your responsibility. So go on from here and live your lives as musicians: I’ll tell you now on behalf of Homer – after we’re done here, go home and practice!
Lynn Fleming (formerly Vivian Luca)
lynn@lynnflemingstudios.com
(301) 922-0398
I began lessons with Mr. Mensch when I was 14, back in the '60s. I know that for the next 10 years, I was everything a student SHOULDN'T be!!! A couple of years ago, we shared a laugh about me now having students LIKE ME in my studio! An incredible bassist and true gentleman-he did much to change the world of the double bass. Vivian Lynn (Luca) Fleming
Richard Myron
rlmyron@noos.fr
There are two things that will always be a part of me--the family feeling around Homer and Connie----and that wonderful and all knowing smile that he had when I managed to charm him(not very often!!)at a lesson. What an extraordinary man he was!! My deep thanks go to all of my old friends who have spent so much time and given so much in the last few years--Homer, Connie, I will miss you always----bon voyage! Richard Myron-Conservatoire de Paris
Andrew Trombley
bassplayer61288@hotmail.com
845 796 3318
Home was truly an amazing man. He never gave up on his students despite the many problems. I remember when I was a sophmore in high school, I scheduled my first lesson with him with the help of Kurt Muroki. With all the stories I have heard of him I imagined an increadably tall man. Maybe even a giant! So my dad looked up his picture on the Juilliard website and grabed me and said "Is he scary enough for you Andrew?" When the day of my lesson finally came, I was so excited. I ran to his apartment complex, ran on to the elevator, and finally got to his door and rang the door bell. Tho it only took a couple of seconds for him to get to the door it seemed like it took forever. When the door finally opened I was almost shocked to see an old man hunched over. I had some thoughts go through my head such as "Oh he is too old to teach!" Oh boy was I wrong. This man grew on to be the greatest teacher I have ever had. From the lesson where he tore me apart and started from scratch to the lessons where he would be happy with and I would get the famous "pretty good" My lessons have always been the greatest experience of my life. I only wish that he could live longer to see me grow to see his other students grow and to see his future students grow. I can only imagine how happy he is to be in heaven and being reunited with his bride and other great friends. I hope to see him again one day. Not any time soon. But one day.
Andrew Thomas
athomas@juilliard.edu
Remarks made at the memorial serice for Homer by Andrew Thomas, Director of THe Pre-College Division, The Juilliard School: I share today’s sadness and joy with all of you - here in this room and around the world - on the death of your teacher, our friend, and mentor Homer Mensch. Homer began teaching in the Pre-College in 1970, the year I joined the composition department of the division. During the thirty-five years I have known him, he was an unfailingly kind, perceptive, and nurturing teacher – a gentleman, and musical role model. Those of us, who are lucky enough to meet someone like Homer during our studies, or as adults, carry that person within us for the rest of our lives. One strong memory I have of Homer: several years ago I was here for the funeral of Constance Mensch, Homer’s beloved wife, and I have a searing memory of Homer’s dignity and stoicism - punctuated with tears of inconsolable grief. He was raw and intensely human at that difficult time. It is always hard seeing someone we care about going through an experience that we can’t change or ameliorate. I wondered then how well he would do, living alone. Well, his last years are a testament to his life force and his iron-clad desire to be present and active with his students and friends. And that feeling was reciprocated by everyone who knew him. Homer had a particular speaking voice that was musical and a bit sing-song: ‘Hello, how are you today? That’s good.’ The cadence of that voice conveyed his gentleness and his commitment to his teaching and until he was gone I hadn’t realized how much I responded to that warmth. There are some young students here today who are experiencing the disruption of death for the first time, and we share your grief. Homer’s advice to us would be to carry on with our lives, make the music that we love, and become the best person we can. Accomplish these goals, because in doing so, we celebrate his long life and the profound influence he had on so many musicians. Homer taught right up to the end – an act that is both inspiring and scary, since his students saw his clinging to life, his stubbornness, and the physical changes of his last weeks. In this desire to teach and communicate and to exist, he joins other illustrious Juilliard faculty some of you may remember - Leonard Eisner, Jane Carlson, Renée Longy, and Richard Fabre – all connected to their students and encouraging and hectoring them right to the last possible moment. This ceaseless will to live was perhaps best stated by Faust on his deathbed, and I leave you with these words by Goethe, which eloquently describes Homer’s Faustian capacity for life: To this philosophy I am wholly given, Wisdom can reach no further: he alone Is worthy of life and freedom who has to win them By conquest every day. And so, ringed round With danger, young and old will live a life Dedicated to vigorous activity. In expectation of that highest bliss, I now enjoy my greatest moment – this!
Lynn Milano
LM46@0ptonline.net
I was fortunate enough to have started studying with Homer-always Mr.Mensch to me in 1965 when I was driven to his home in Queens.He and Connie always made me feel comfortable.Such an incrediable Teacher and person.He found my first "real" bass for me .Arthur Renzulli had played it in the Met Opera Orchestra.French,Violin corners ,round back,C extension a dream.I was his TA at Duke one summer.I studied privately whth him thru the 70s. On 12/3/05 playing a concert I met another Homer student Michelle Zwierski fo course we spoke about Homer and made a pact to call him before the week was up.I called 12/9 and was told he was in a coma,close to death.I called Michelle she called and he had passed.Mr.Mensch .Well named.It was a priviledge to have known you and Mrs.Mensch Merry Christmas in Heaven Lynn Milano
Fred Giampietro
fredgiampietro@earthlink.net
203-787-3851
I was a Sophmore at the University of Miami, studying with Lucas Drew, when I got hold of a copy of "The Way They Play". After reading the chapter about HM, I aspired to study with him. The following year I gained enough courage to call and arrange private lessons, during the summer months. Like many others, he changed many aspects of my playing, right down to how I held the bass. I will never forget the first thing he said to me when I played for him, "lotta clams in there Fred!" Slowly there were fewer and fewer "clams". I went on to study with him at Yale in 1978-79. The thing I will remember most was his infectious smile. He was always glad to see me. Farewell Homer......
Neil Garber
ngarber@sbcglobal.net
805.648.1483
I last saw Homer in November of 2004 during a trip to NY. I hadn't seen him in many years and was so nervous! We sat in his apt. and chatted, and I was so pleased that he remembered me at all. He also remembered all my friends, fellow bass students of the time, all the times I showed up unprepared for lessons, the crazy pieces I brought in to play for him, and any number of things. All this 30 years on. I don't think Homer ever forgot anything about any student. The truest gentleman, the most dedicated teacher, a great artist.
Alexis Valk
lexvalk@lexvalk.com
713-254-2474
Homer Mensch was the most influential teacher in my professional life, after Gary Karr. He helped fix a number of technical problems in my playing that helped me immensely
Allison Scola
allisonscola@yahoo.com
Homer asked to hear a recording of my first performance as a performing songwriter... he said, "I like the songs, but you should get rid of that piano player!" He didn't know that it was me playing and singing! Years later, I wish he could hear me now! He was always a gentleman giving me accolades and warm kisses hello. I miss him.
Kurt Muroki - "homermensch.com caretaker"
kurtmuroki@hotmail.com
917-664-5167
Hi just to let everyone know, there was a disturbing post left on this website which was removed. Although I completely understand how people may feel the need to express how they feel about Homer to everyone, it is too soon after Mr. Mensch's passing for some to deal with. Please understand that this website was created for those people who are grieving, so please give it some time before posting anything too negative. If anyone wishes to discuss this issue, you may contact me anytime by e-mail or phone. Thank you.
Maurice
mwbbass@yahoo.com
Homer Mensch is one of the strongest, bravest teacher I ever had. He was my orchestra rep teacher at the Manhattan School of Music for 2 years. His jokes, humor, and personality made the class so much fun but very challenging at times. There's nobody else in the world like him and he is the one bass player/teacher that we will all miss!
Steven Cohen
horncall19@aol.com
5165672231
One of the finest bass players i have ever known.
Kirsten Paige
I have a second memory to share: I came across a letter not too long ago that Mr. Mensch wrote to me in the summer of 2003 while I was at a summer camp in Maine. I think the letter captures the nature of his teaching very well: "7-17-03 Dear Kirsten, Thank you for your nice letter. There is not much I can suggest about preparing yourself for playing the Beethoven 5th Symphony other than SLOW practice of the passages. The Cimador and the Rossini should keep you very busy. Don't overlook slow bow and your scales. Enjoy your camp life and keep well. I was just informed that I have 7 students next semester in pre-college at Juilliard. I am looking forward to seeing you when camp is over. Sincerely, Homer Mensch." Of course, when I had my first lesson of the semester a little over 2 months later, he asked to hear the most important passages of Beethoven's 5th. He never forgot a single thing about what a student was working on or had mentioned. Once, I told him that I had played the jazz tune "Birdland" over the summer and, 2 years later, when I mentioned it again, he said, "I know, you told me that already!" He was one of the most remarkable people I have ever met and he was always such a gentleman. I really miss him.
Fawn wiener
wfawnw@aol.com
8453578954
I will always have memories of Mr. Mensch and the bass class at the International string festival. He was always there with a smile and a joke, and what a fantastic teacher. I find that as I get more along in the teaching years we are losing more and more great teachers- Mr. Mensch was one of these. I miss Connie everyday and will chant for her and Mr. Mensch everyday, twice a day. Much and Love and many thanks to Homer and Connie who are now together again- Love Fawn Wiener
Martin Stam
martinstam@aol.com
502-548-3244
I first met Homer in the fall of 2004. Although I only studied with him for three semesters, I cannot express how much his influence shaped me as a musician and as a person. This man focused my life. I have three short memories to share. I was genuinely scared of him in the beginning because he tore me up so much in the first lesson. I was so anxious to please him I proudly reported of how I had taken my bow that very day to be rehaired at his advice. He asked me what bow I was using instead. "I have two bows" I said. "Well, aren't you Mister Moneybags!" he replied gruffly. It took me a second to realize that he was being funny and we shared the first of many laughs together. Once when I was feeling a little overwhelmed about bass, school, life, nyc I asked him at what point as a young man did he realized his career path lay as professional player. His response was one of the most inspirational things I've ever heard. He simply said "Martin, I began playing bass and I wanted to get something accomplished.". I received the news only seconds after finishing a recital/mock audition for some of my classmates. It made me very sad and nostalgic, but I am also somehow glad and I feel honored that I was playing at the moment he died.
Robert Quan
rsquan1@juno.com
626 688-8338
Homer and Constance were very easy to know and they loved our daughter, Jennifer. They opened their home to us whenever we came to town to visit. I remember how warm and receptive they were to us and all of the basses that Homer owned and the time Jennifer hopped on their grand piano and played some jazz. I also remember doing reiki for Homer and Constance in Homer's studio to help their health. That was before Constance got sick and went into the hospital. I alternated long distance healing between NY and San Francisco where my mom was sick. Homer took Constance's passing hard. I'm happy that his students all helped him through those tough times. Now he is with her and I think he is happy again. Thank you Homer for taking Jennifer as your student and giving her all that you could in your knowledge, artistry, caring, and love. You are truly a gentleman I will never forget and the students that you have had are the truest expression of your love to this world. Please continue to help guide them from the other side. Thank you. Dr. Robert S. Quan or Jennifer Lin Quan's dad.
Judy Sugarman
Bassbar@aol.com
I have visited this site countless times since Homer died. It has brought me comfort and made me chuckle again and again. Thank you Kurt for setting this up. I will probably be posting periodically as I am able. For now, I’d like to share the following with you. In an attempt to comfort Homer’s youngest students at Juilliard, I sent them all this note.~~~~~~~~ “As you all know, Mr. Mensch is gravely ill, but I wanted to offer you the opportunity to write a note/letter to him. It could be a thank you letter, a letter to say good-bye, a letter to make him laugh or a note to say what you've thought but never actually had the courage to say out loud. You could email me this and I will read it to him. Please take care of yourselves and know that Mr. Mensch has grown to love and respect each of you for the gifted and special people you are. You have all been a rich and vital part of his life. Sincerely, Judy Sugarman “ ~~~~~~~~~~~~~~~~~~~~ The following is one student’s reply to my invitation. I am sharing it in it’s entirety with this 15 year old boy’s permission. ~~~~~~~~~~~~~~~~~~~~~~~~~~~ “Dear Mr. Mensch, It's so hard to think and wipe away all the tears coming down my cheek at the same time. I'm having such a horrible time trying to start this letter, so I'll just start it. I love you Mr. Mensch. Everyday after my lessons I would walk out saying to myself, "I love that man with every inch of me". You are my hero, my mentor, you're like a second father (but with a much better hand shake). You are just this unstoppable force, that won't quit. You can't leave yet Mr. Mensch... we still haven't studied any Bottesini together! So how am I supposed to know what bowings to use during the first movement of his Concerto No. 2 in B Minor? I'm just trying to put a smile on both of our faces now. Deep down I'm crying so much. It's hurting me so much to see you go. Do you remember that day last year when you weren't sure what scale to give me for the next week? I said you should give me G Minor because that's my favorite key. You just looked at me and smiled. The next week you came in and handed me a scale, and sure enough, on the top it said "Sol Minor". Then we just looked at each other and laughed. I had totally forgotten that I told you, but you always aim to please. There could never be anyone like you. I would like to tell you a little bit about the piece that I wrote for you. The solo bass part was designed to be played by you even though I was pretty sure you would never get to play it. I put in a section full of spicatto which I heard you were a master at. A section full of long bow strokes and a gorgeous melody which I'm sure you would have brought people to tears with. It is all for you. The trumpet solo in the beginning is from Mahler 5 which you told me was your favorite piece. So I added it just to see that great smile of yours. The piece is mainly in G Minor (my favorite key) with a change to E Major in the middle. The E Major section has a viola solo which is accompanied by the solo bass. These are all just major details I don't want to dive too much into my piece. It is completely tonal. No atonal, twelve tone stuff (I remember when you told me your opinion on that). It generally is a sad piece, mourning the inevitable. I titled it "Concerto No. 1 for Double Bass "Beautiful Winter"". The title has nothing to do with my favorite season... but is completely based on you. I have only known you for three years. I hate to say it, but the three years I have known you were in the "winter" of your life, but with this winter you did not just sit around and waste it. You taught your gift to kids like me, Andrew, Suleika, Mackenzie, Stephanie, Levi, and countless others. You made the winter of your life into a beautiful one by spreading your talent to your students. Therefore you are having a "Beautiful Winter". I will carry you with me where ever I go, and spread you through my music. I will make space my canvas and I will paint wonderful paintings with my sound of what you have given me. Which is the gift of music. What a gift. I don't think I could ever repay you for what you have given me. But of course I will try. I could go on forever about telling you about how much I care and admire you but I don't want to take to much of your time... I'm sure you have fingerings to write down. I love you and I always will. I will never look at Mahler 5, G Minor, Sibelius 2, hands, or rice pudding the same. You will always have a spot in my music and in my heart Mr. Mensch. You won't be forgotten... I promise. I love you so much Mr. Mensch... I will bring you everywhere with me. With all my love, Christopher Richard Daniel Castro (I thought you should know my entire name) P.S. I will always live by the saying you told me, "If you can't play bass... boy, are you in trouble". Even though I will never be a "Homer Mensch" (none of us will), I will try and play the bass as well as I can. All because of you.”
When a great piece of music comes to an end, the audience does not sit and mourn the loss of what is no more; they stand and applaud what was. In the symphony of life no one deserves a great ovation that Homer.
Daphna Sadeh
info@daphnasadeh.com
Homer Mensch was my mentor. He was like another father to me. I was one of his international students at the Manhattan School of Music, coming from Israel. After graduating I left New York and didn't see him for few years. I used to call him on the phone, few times a year. After Connie had died I called him and he told me, he feels very lonely which almost broke my heart. Also he asked me : "will I see you ever again ? " This question made me do any effort to come again to New York, which I did, in order to meet him. That was also my last time to see him. Few years ago I have lost my "real" father and now I feel as if I lost another one. All beautiful words has been said about you , Mr. Mensch and I can only add mine. The only thing I can do is sit and compose a farewell music to you my dear mentor - Homer Mensch. With great Love Daphna Sadeh ( currently living in Cambridge UK )
It is a great honor to have been asked to represent Manhattan School of Music today and to speak about Homer. On behalf of our School, I express great sadness over his passing. I see it as significant that the members of the Manhattan School community who have approached me this week about Homer’s death, have included personnel from the departments of maintenance, payroll, registrar, admissions, food services, in addition to my colleagues of both the staff and faculty – and, of course, our students. People loved Homer – he truly defined the word “mensch”. He reached out to others with whom he crossed paths, whether the connection was musical or otherwise. And he remembered seemingly casual conversations he would have, week to week, in our building. I would frequently see him inquire after the well being of staff members in a way that would both surprise and touch them. Homer was in our building one day each week. He and I would converse nearly each time on a variety of topics: his students, his repertoire class, the state of the music profession, his recollections of conductors, and the blessed chaos of NYC. He always punctuated our discussions with an inquiry about how I was doing that week. When I, in turn, would ask him about himself, he invariably responded with a broad smile and his famous “not too bad”. Even after the death of Constance, and his increasing mobility problems, he never complained to me, or to any other member of our community, about himself. Homer taught at MSM from 1980 to 2005. In fact, he was a graduate of the School. We awarded him our Presidential Medal at commencement last May. His student alumni roster reads like a “who’s who in music” – not only our graduates, but also those from Juilliard, Mannes and other music schools represented here today. Bass players are great people and Homer was the embodiment of the ideal bassist. He was highly professional, gracious, exacting, witty and joyful in his approach to music and his relationships with people. At a time when such qualities are in short supply in our culture, Homer’s lesson to us is very, very clear. Respectfully submitted by David Geber
An e-mail sent by Richard Myron "...I was at Juilliard from '73 to'78 with many people that you know, and others that have appeared on some photos----I am in the photo that was taken after a concert with the National Orchestral Assn--Leon Barzin's last concert----------he invited former members to play with us and we had the great pleasure and privilege of having Homer and June Rothenburg with us in the bass group---in the photo are Neil Garber, Mike Gregori, HRM, June and me!! I can't thank you enough for putting it on the site----I didn't even remember the photo and was extremely touched to see it. I uploaded a photo to you that was taken in summer of '98. It was the last time that I saw Homer and Connie together and I think that she has an important place in this tribute-----I always felt that Connie was as much a part of my education as was Homer (did anyone ever escape her after concert comments about unshined shoes or "kitchen rags" in the tailpiece?)" Thank you Richard for letting us post this and for reminding us how special Mrs. Mensch was.
Richard Tamosaitis
Richietman@aol.com
I have not seen nor spoke with Mr Mensch for 25 years, but the day he passed my thoughts were of him. I studied with Mr. Mensch at Juillard for a couple of years in the late 70's. I think we both knew that a career in music was not in my future but still, every week, even when I hadn't practiced, it was always such a pleasure to spend time with him. I can't think of any student or faculty member that did not like and respect Homer Mensch. Homer Mensch taught more than the double bass, he taught me about kindness, respect and dignity. He was a gentleman in every sense of the word, a great bass player and teacher. You don't think about it at the time, but looking back I've come to realize that his influence over me was greater than any other teacher. Richard Tamosaitis
Ron Reichler
Beethoven@nyc.rr.com
347.247.9457
Wow, I just heard the news from a friend Laura Snyder, so I searched the internet and found this website. I began the bass with Mr. Mensch privately, starting 1961 when he lived in Flushing, NY and was only teaching at Dalcroz and Yale(so far no one has gone back that far.) I had the best lessons through out my high school years with Homer and best memories when he invited me to watch him play in the Bell Telephone Hour. I would have continued into Manhattan School but he didn't teach there or any of the great music schools, yet. Every player knows he teaches the best left hand ever
Rich Messbauer
richmessbauer@netzero.com
570-842-6736 / 917-796-3236
I learned a week ago tonight that Homer passed away on December 9th (this is January 26th). I studied with Homer from '74 to '80 at Juilliard, and he really was one of a kind. It's difficult to express the sadness I felt when I heard the news of his passing, the flood of memories, the realization that he is gone. As anyone who ever studied with him knows, he was like a father to all of us. My own father passed away last year also, after a long illness. And as sad as it was, I knew he was in a better place, and I knew he was with me more after his passing than he been as he lay dying for so long. And so it is with Homers' passing, he will be with us more in death than he was in life. He breathed so much life into all of us, into everything he did, into every note he played, he will live on like few others could ever dream.--------So much for my thoughts, we're also asked here to share some memories, so here's a story to illustrate what kind of impact Homer not only on us, but on so many who never even knew him.--------- Back in the seventies (when I studied with him) Homer always had a Christmas party around the corner at the Steak And Brew for all of his students. One year, he was a little late because he had been in the studio all day recording a soundtrack for a movie. Someone asked him what the music was like, and he said "Well, I don't know what these composers are thinking these days, but all we did was play two notes, over and over, all day long." It turned out to be the soundtrack for "Jaws", and those two notes went on to take on a life of their own in the minds of countless millions of people throughout the world. Only Homer could could breathe so much life in such a self-effacing way into what was after all just another afternoon in the studio.-------------------PS---It was great to see pictures of Joe, Judy, Richie Myron, Niel Garber, and to read the other postings. I hope I hear from some of you before I pass into the next life, where I'm sure Homer will be waiting for all of us, Gradus in hand.---ADIOS--Rich Messbauer
Christian McBride
Mr Mensch, you will forever live in the hearts and souls of all of us. Thank you for not only being such an incredible musician, but thank you for being such an incredible man. Homer was so tremendously understanding and supportive of my wanting to leave school to become a professional jazz musician. I'll never forget conducting a workshop at Juilliard, and Homer showed up! SCARED ME TO DEATH!! I'm so proud to say that I knew and studied with this beautiful man. I wear my affiliation with him with great, deep pride. God bless his soul.
Jose A Garcia
Hello! My name is Jose Garcia.I did my Graduate studies in Double-bass at Mannes School (1995-97) under Homer Mensch. Homer will always be one of the most gentle humans I ever met. And extraordinary teacher with the power to make you play better and betyter every day. He's words and teachings will always be with me. After I studied with him I've have had many wonderful and amazing experiences in music. I'd became a member of the Jeunesse Musicals World Orchestra (1997-99), became a member of the Puerto Rico Symphony Orchestra. And now I'm Principal Bass of the Puerto Rico Sympnony and Professor of Double-bass at the Conservatory in Puerto Rico. And most of it I owe it to Homer and his dedication. He will always have my heart and soul. He's an amazing fellow,a friend....a great man. I will always carry his legacy and memories.
Jess Ting
ting_jess@yahoo.com
I met Homer Mensch in 1980. I was a High School student playing in the New York Youth Symphony. Stanley Hall, a ringer in the orchestra, heard me play and set up an audition with Homer. I didn’t have a teacher at the time. I vividly remember walking into his pristine 11th floor apartment for the first time. I played the cadenza to the Dragonetti Concerto. After letting me finish uninterrupted, he gently took the music off the stand and said, “Maybe we’ll work on something a little less taxing next time”. That was his way of telling me he would accept me as a student. He was a man of few words. For the eight years that I studied with Homer, he remained largely an enigma to me. I could rarely tell what he was thinking. I can remember the only time I saw him publicly express emotion. A visiting bassist from Germany was giving a masterclass in Paul Hall. I played the first movement of the Koussevitsky Concerto. Afterwards, Homer unexpectedly grabbed me and hugged me. As I pulled away, I saw he had tears running down his cheeks. Although I don’t play the bass anymore, I sometimes reminisce about my days at Juilliard and wonder what became of Homer and Connie, and of his beautiful Galiano.
Thomas B. Gale
TBGale3@aol.com
I was so sorry to hear of Homer's passing and, earlier, Connie's. They met when they both played with the Pitts. Sym. Homer had a "picture" from a student - Mel (?) - in 1975. Connie gave it to me to get it off their wall. Homer wouldn't let it go - a bassist bowing a nude woman. My wife made me hang it my den closet but there it is!! Tom Gale
This obituary and tribute appears in the February issue of the Juilliard Jounral: http://www.juilliard.edu/update/journal/j_articles782.html
