Kinhaven Pianos for Sale

Steinway Square Grand Piano

$4000

This 1884 7′ x 3.5′ Square  Grand, with its gorgeous Braziliam Rosewood case is in excellent condition, considering its vintage, and offers a unique historical experience for the pianist. It has had admirable work including a restringing with ALL bridge caps replaced, and modern NY Steinway hammers fitted on the action.

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“Kinhaven Deeply Fostered My Love of Music”

“My four years at Kinhaven were really meaningful to me and definitely fostered my love of music and shaped who I am today,” says Minnesota Orchestra Concertmaster Erin Keefe (’90–’93), reflecting on her time at Kinhaven, which first introduced her to chamber music.

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A Supportive Community of Loving Souls

Julie Landsman

Brooklyn-native and world-renowned French hornist Julie Landsman was the principal horn of the Metropolitan Opera Orchestra for twenty-five years (1985-2010). She has also served on the faculty of her alma mater, the Juilliard School, since 1989, in addition to holding master classes at top conservatories such as Curtis, Eastman, and the Colburn School. In addition to countless recordings, Julie has performed with the New York Philharmonic, the Houston Symphony, the St. Paul Chamber Orchestra, the Los Angeles Chamber Orchestra, the Philadelphia Orchestra, and many others. She was the recipient the Pioneer Award from the International Women’s Brass Conference and was a featured artist at the International Horn Society Conference in 2012 and 2015.

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Where I Realized What Music Could Be

It is not unusual for a person to identify a space in their lives that has been “flagged,” a moment they consider essential and pivotal. These moments are not just life changing, but have become so deeply tied to our core being that an entirely different person would exist had the initial moment not occurred. Bill Quillen, recently named Dean of the Oberlin Conservatory, instantly points to his time at Kinhaven as one of those pivotal moments. “Had it not been for Kinhaven, my life would have gone in an entirely different direction.” 

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A Conversation with Sarah Whitney:

By: Karl Grohmann

Sarah and I grew up attending Kinhaven Music School together in the1990s. I recently had the privilege of reconnecting with Sarah and talking about our Kinhaven memories and our continued musical journeys since our childhood.

“As a young kid going to a camp like Kinhaven, I don’t think I realized how special and unique it was to learn dances and madrigals together until later in life. It’s those special traditions that were magical.” Sarah has many fond memories from her summers. I listened to her talk about folk dancing, madrigals, Wally Wampus, and chamber coaching with Ken Kwo, and could hear her excitement while revisiting these memories. As we spoke, our pasts were coming back to life, and we agreed that the magic that we experienced as young students is very much a part of who we have become. We carry snapshots of these moments that bring back such joy. Sharing these stories of how Kinhaven served as such an integral part of our development really spoke to one truth, that there really is no other place quite as special as Kinhaven.

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“It’s very possible that if I never went to Kinhaven I never would have started writing music.”

Listening to the eclectic and marvelous music of composer Jon Russell is a pleasure quite apart from his Kinhaven connection—but remembering the connection provides a delight of its own. At Kinhaven, there was very little Jon did not do. He played clarinet and wrote his first compositions (senior session 93-95), washed pots (95-98), and baby-sat then little Isaac Shultz, son of Peter Shultz and Mary Watt (1998). Between and beyond his Kinhaven summers, he graduated from Harvard with a degree in music, got a master’s at the San Francisco Conservatory, where he later taught theory, and completed his PhD at Princeton with a dissertation on Stravinsky’s Rite of Spring.

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The Kinspirit Ethos: A Deep Optimism and Idealism

We all had something to offer. That’s something that – especially at that age – was formative and important. I’ll always be thankful to Kinhaven for that.”

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A Balancing Act: Designing the Faculty Concert Series

When Deborah Buck joined the Kinhaven faculty in 2001, she and her colleagues would hand then-director Nancy Bidlack slips of paper on Thursday during Staff Week (the week before camp opens), listing works they’d like to perform. Nancy would invite them in by instrument group the next evening to choose which parts of which pieces they wanted to play, with the first of five faculty concerts scheduled for a week later. Faculty members would perform three to five times, “so it would be a massive cram session to prepare a lot of repertoire for the rest of the summer,” Deborah said. Faculty would digest the music as fast as they could, while teaching all morning, practicing all afternoon, and rehearsing at night. Deborah said she remembered one summer having to learn Stravinsky’s “L’Histoire du soldat” and Tchaikovsky’s “Souvenir de Florence” in less than a week!

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