Born: July 03, 1926 - New York City, U.S.A.
Died: November 26, 2003 - Rhinebeck, NY
Country: New York City, U.S.A.
Studies: High School of Music and Art; Queens College (1944-46)
Meyer Kupferman's father, Elias Staff-Cooperman, was born in Romania in 1900. A runaway youth, he fled from his stepfather and traveled throughout Europe as a gypsy folk singer, street musician who played the accordion, wrestler, cook and baker. He was conscripted into the Austrian-Hungarian army and wounded in World War I. Elias settled in the United States with his sister Clara in the early 20's. He joined the baker's union while living in New York City and changed his name to Elias Kupferman, thus severing all connection with his hated stepfather. He married a young Russian émigré, Fanny Hoffman, whose family had been decimated by Cossack raids and pogroms in Nemirov, a little Jewish village moving on the “Pale” between Kiev, Odessa and Eastern Poland. Fanny's flight to American first brought her to the mid-west where she worked in the mills and factories of Kansas. Later she joined her aging aunt in New York where she found work as a seamstress. Fanny and Elias were introduced by some friends at a wedding where Elias was hired as singer and entertainer. They fell madly in love and were soon married.
Meyer Kupferman was born on July 3rd, 1926 in New York City. The little family soon moved to Brooklyn because there were more and better jobs available for bakers. Also landlords had lowered their rents on all apartments; they were, in fact, giving away three months rent-free concessions on all new leases. Through the Depression and nearly the next ten years Kupferman's family moved to a new apartment each year. Thus as a child he had to attend a different school each year and make new friends as well as abandon old ones very often.
At age five he was given the violin, a study that was so premature and uncomfortable he has little memory of it. At age ten, almost as a joke or a dare while fooling around with his friends already in the school band, Meyer Kupferman began taking clarinet lessons. Music soon became an important part of his life and he became good at it. The idea of writing music grew more and more fascinating for him. Eventually he began teaching himself the piano, which provided a basis for his curiosity about composing and arranging music for his friends. As he grew older he worked as a young jazz musician in clubs and bars in the Coney Island area of Brooklyn. He lived through the “Big Band Era” which provided a source of rich stimulation for him as well as all budding musicians interested in composing or arranging jazz.
Although Meyer Kupferman was entirely self-taught in music composition he received his education in theory, chamber ensemble and orchestral music at the High School of Music and Art. He also studied at Queens College. Kupferman's father encouraged his son in music and taught him many East European, gypsy and Hebrew melodies. The flavor of these tunes not only stayed with Meyer Kupferman for the rest of his life but influenced his compositional style from time to time.
As a young composer still in his twenties Kupferman became Professor of Composition and Chamber Music at Sarah Lawrence College in 1951. He continued as member of the faculty until his retirement forty three years later in 1994. During his tenure at Sarah Lawrence College he was chairman of the music department for five terms, conducted the orchestra, chorus and chamber improvisation ensemble, taught theory and music for film and wrote many experimental theatre and dance works for performing arts students at Sarah Lawrence.
Mr. Kupferman has been awarded grants and fellowships from the Guggenheim Foundation, the Aaron Copland Fund, the Ford Foundation, the Rockefeller Foundation, the National Endowment of the Arts, the Library of Congress, the US State Department and the American Academy and Institute of Arts and Letters. He is a virtuoso clarinetist who has premiered over sixty solo and chamber works composed especially for him and his “Music By My Friends” ensemble.
Works for Percussion
A Crucible for the Moon - Percussion Sextet; Voice; Saxophone
Flavors of the Stars - Percussion (2)
Moonjazz, Babyface - Drum Set; Cello
Moonsticks - Marimba
Percussion Symphony: On Tibet and Tienanmen Square - Percussion Sextet
Poetics - Vibraphone; Amplified Guitar
Prometheus - Percussion Sextet
Sitting Bull - Vibraphone; Trumpet
Sound Phantoms #5 - Percussion (8)
Sound Phantoms #7 - Percussion; Saxophpne
Sound Phantoms #9 - Percussion Quartet; Flute; String Bass
The Stone Tears of Ixtaccihuatl - Timpani
- Fabien, Valentine. Soundspells Productions. http://www.jamesarts.com/MKBIO2000.htm Accessed May, 2003