Thursday, October 1, 2026
Leonard J. Lehrman, 76, a Valley Stream composer deeply committed to his Jewish heritage and social activism, has lived a life intertwined with music and causes greater than himself.
His upbringing, he recalled, was shaped by parents who were deeply engaged in the world’s injustices, particularly those related to nuclear weapons.
“Some of my earliest works were about peace and justice,” Lehrman said. “I became a composer because I was constantly improvising things that I couldn’t remember and wanted to write them down.”
His journey into musical composition began early, at around age 7, and by 11 he had already decided on his future. His parents took him to meet the composer Elie Siegmeister, a moment that would significantly influence his career. Initially, Siegmeister was reluctant to teach him, saying he didn’t take students that young. But when young Leonard asked how long it would take to play all of Siegmeister’s music, and the composer replied that it would take about a week, Leonard confidently responded that it would take him only 45 minutes to play all the music he had written — and offered to do so. Impressed by his ability, Siegmeister agreed to take him on as a student. In later years, Lehrman would go on to perform in more than 100 concerts featuring Siegmeister’s music and later write a biography of his former teacher.
Reflecting on the intersection of his musical and cultural identity, Lehrman emphasized the influence of both his Russian heritage and his Jewish upbringing. “I was always conscious of the importance of Jewish aspects of culture in my work,” he said, adding that his interest in Russian literature and traditions grew as he got older. He also noted his involvement in debates about antisemitism, saying that his Harvard reunion group was currently “debating the whole definition of antisemitism.”
One of his major projects, an opera titled “Sima,” which he completed 49 years ago, holds a special place in his heart. The work, based on a novel by David Yakovlevich Iseman, tells the story of a Jewish girl orphaned by a pogrom in early 20th-century Russia. Lehrman explained that “sima” is an Aramaic word meaning “treasure,” a concept that resonates deeply with his own family. When he told his then 87-year-old grandmother —whose first name was Sima— that the word meant treasure, she said, “I’ve lived my whole life and now I know what my name means.”
Despite its critical acclaim, “Sima” has faced challenges, particularly its irregular meters and polyrhythms, which make it difficult for many opera companies to take on. But Lehrman and his collaborators are moving forward, preparing for a New York premiere. “We’re having a reading on Aug. 6, and then on my birthday, which is Aug. 20,” he said, eager to see how the work continues to evolve.
Even in his 70s, Lehrman appears to have no shortage of energy, for which he credits his wife, fellow musician and performer Helene Williams.
“She’s really quite an amazing observer, critic and supporter,” he said. Together they have created over 200 pieces and performed in over 700 concerts. “She helps me keep going.”
His autobiography, “Continuator,” offers a window into his life’s work, chronicling the many projects he has completed over the years, including his unique role, since 1970, in finishing unfinished works by other composers, such as Marc Blitzstein and Richard Peaslee — most notably “Sacco and Vanzetti,” an incomplete opera by Blitzstein that Lehrman completed and that was later nominated for a Pulitzer Prize.
Looking ahead, he remains deeply committed to sharing his passions with others. Surrounded by a lifetime’s collection of Russian and Jewish literature, music and recordings, he sees it all not merely as personal treasure, but as a cultural legacy worth passing on.
