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February 15, 2018 - Image 31

Resource type:
Text
Publication:
The Detroit Jewish News, 2018-02-15

Disclaimer: Computer generated plain text may have errors. Read more about this.

PHOTO BY MICHAEL KUSHNER

The Probate Law Firm of
Thav, Ryke & Associates

www.michprobate.com

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the administration of Estates, Trusts, Guardianships, and

other in a very lyrical way.
“I took some harpsichord lessons
and found something intoxicating
about the way the instrument itself
spoke. It has an immediacy when
it’s played well that gives it a light-
ness and flavor so that I couldn’t get
enough of it.
“Before 1800, there was no such
thing as a conductor. All music was
led by either the harpsichordist, first
violinist or the whole group together
as a unit. I realized there was all this
music that doesn’t need one person
[methodically] waving his arms. I felt
I had a good background with key-
board instruments to make that my
life.”
Living in New York — and while
experimenting with an upright piano,
small organ and two harpsichords
in his home — Grossman serves as
artistic director of the Sebastians,
an affiliation established while at
Juilliard, and schedules independent
engagements, recently with operatic
soprano Joyce DiDonato at Carnegie
Hall, Chamber Music Northwest and
the St. Paul Chamber Orchestra.
Grossman, who graduated from
Harrison High School in Farmington
Hills and attended Temple Shir
Shalom, is the son of Detroiters
Beth and Jeff Davidson, and Joel and
Debbie Grossman.
“It’s very hard to find Jewish
baroque music,” says Grossman, who
sometimes plays at synagogue con-
certs.

“I’ve personally performed Jewish
piano music. I’ve gone on a lot of out-
reach concerts at schools, hospitals
and nursing homes in various parts
of the country and included a lot of
music by the late Jewish American
composer Arnold Rosner.”
Grossman has been able to mix
some technology with his musical
interest to develop a sideline —
engraving musical scores.
“Composers write music in long-
hand or at the computer,” says
Grossman, whose partner is com-
poser Karl Hinze. “I take the music
and make it look nice by inputting it
into the computer so that it’s easier
for performers to read. There’s a lot of
back and forth with the composer so I
can clarify what is meant. It’s like edit-
ing, making it clean and crisp.
“In high school, I thought putting
music into the computer was cool.
You could listen to it and see how it
looks. As I got older, people asked me
if I wanted the sort of work that was
part of engraving, and I started read-
ing manuals and learning software.”
With a focus on time travel, two of
Grossman’s recordings, “There and
Back” and “Reunion,” feature music
that mixes centuries and countries.
He has found that people drawn to
early music also are drawn to very
modern music.
“I think it’s because both kinds of
music are sort of weird,” Grossman
laughs. “I feel lucky to immerse myself
in music so much of the time.” •

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jn

February 15 • 2018

31

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