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Home , Adolf Busch, Allen Cohen (composer), Arnold Steinhardt, Basset horn, Benita Valente, Bernard Zaslav

MARLBORO

60th AnniversAry reflections on MA rlboro Music

85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011

MARLBORO MUSIC

Richard Goode & , Artistic Directors

85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011

MARLBORO MUSIC

& Mitsuko uchida, Artistic Directors

85316_Watkins.indd 3 6/23/11 9:48 AM On a HilltOp, a Dream is BOrn

Audience outside Dining Hall, 1950s. was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist , who had a thriving music together, and share meals and life experiences as career in as a soloist and a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and for in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the . remain his legacy. He eventually settled in Vermont where, together with his son-in-law , his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist — of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951. and inspiration.

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85316_Watkins.indd 4 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn

The Marlboro College Dining Hall, where concerts were given until Persons Auditorium was built in 1962, remains at the heart of the Marlboro Music community. The 80 musicians, 30 staff, and their families share meals, life experiences, and dining hall chores—as well as music—in what was formerly one of the barns of the Dalrymple Farm. Everyone, even Directors Goode and Uchida, take turns setting tables and serving at mealtimes.

t Blanche Moyse, Rudolf Serkin, Herman Busch

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85316_Watkins.indd 5 6/23/11 9:48 AM p Marlboro’s founders: Marcel Moyse, , Rudolf Serkin, Blanche Moyse, Adolf Busch, Herman Busch (with cellist Nathan Chaikin second from left)

Marcel Moyse leads a rehearsal of the Beethoven Octet, op. 103

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85316_Watkins.indd 6 6/23/11 9:48 AM The annual square dance at the end of the first week is as much a vital annual tradition as Choral Fantasy the Beethoven , which concludes the summer with everyone participating in either the or chorus. Softball and soccer games, as well as picnics, are also an essential part of each Vermont summer.

p ,

Metropolitan music director Levine, seen here at age 13, has said that the first time he ever conducted was at Marlboro: the Cosi offstage chorus in an opera workshop of fan tutte.

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85316_Watkins.indd 7 6/23/11 9:48 AM marlBOrO at sixty

by “Marlboro is the perfect training ground for our future musical giants.”

n August, 1957, and I, two young dining room stage and implausibly gave a creditable violinists hoping for a career in music, visited performance of Bartók’s Second . The Ithe Marlboro Music School for the first time. We great Marlboro experience had just begun for me. wanted to see for ourselves the place where outstanding During six subsequent summer, I studied innumerable musicians young and old, famous and unknown, gathered works with innumerable musicians and performed in idyllic surroundings to play chamber music all summer thirty-eight times. long. Jaime and I had driven from Meadowmount, a string camp in the Adirondack Mountains where we The images of my past Marlboro experiences come had just spent the summer. Listening to the concert that flooding back easily if I let them: Flutist Marcel Moyse, evening in Marlboro’s unprepossessing dining room, another founding member, leaning over my part I was struck by the difference between the two places. of the Debussy Trio for Flute, Harp, and Viola and At Meadowmount, we spent hours daily learning to play instructing me to ignore a printed crescendo. Debussy the as well as possible. At Marlboro, the magic of himself had told Moyse that he changed his mind about the performances we were hearing brought home why the marking. Violinist critiquing bar for any of us learn a to begin with. Such bar and by memory a performance we had given of was the impression left with me that now, over fifty ’s String Quartet, Opus 3. He had worked years later, I can still remember the program: Brahms with Berg personally and knew every note of the quartet Trio, Opus 40, Beethoven Trio, Opus 11, intimately. , the great Catalonian cellist, and Schubert Octet, Opus 166, and I remember some of exhorting me to play Bach with the kind of freedom the concert’s performers as well: Rudolf Serkin, , usually reserved for gypsy violinists. Reading through , violinist, Herman Busch, cellist, Beethoven Sonatas with Rudolf Serkin in the great Harold Wright, clarinetist, and Myron Bloom, French German violinist Adolf Busch’s studio on a hot late horn. The next afternoon’s closing summer concert was summer day, all the while hoping that some of the magic also indelibly etched in my mind with a performance of Serkin’s playing and Busch’s aura would somehow rub of Beethoven’s Choral Fantasy, Opus 80. Rudolf Serkin, off on me. one of the school’s founders, was the soloist. Serkin’s playing seemed more like an awe-inspiring act At Marlboro, we learned from these great mentors, from of nature rather than simply a fine performance. I left the inspired chamber music repertoire, and inevitably the concert that day feeling as if I had arrived at a place from each other. Chamber music taught us how to inhabited by musical giants. wear many hats—that of a brilliant soloist, of a team ensemble player, and of a humble accompanist—and it Two years later, I was invited to be a participant demanded that we be able to change those hats quickly at Marlboro, and to my astonishment, the school and nimbly. It taught us the art of suggesting rather than expected me, an inexperienced violinist of twenty- demanding in rehearsals, and the value of accepting two, to make music with those very giants. Almost criticism gratefully rather than with hurt feelings. Out immediately, Alexander Schneider, Sasha as he was of Marlboro’s fertile soil, participants not only became known to everyone, informed three of us that we were more complete musicians but many crafted life-long to study Bartók’s Second String Quartet, Opus 17, with chamber music careers as well. Jaime Laredo and I, him, a work none of us knew. As second violinist of the two young and curious kids who visited Marlboro the , Sasha had performed the in 1957, were among those who eventually formed Bartok innumerable times. During rehearsals, Sasha long-lasting professional chamber music ensembles. In coaxed, advised, admonished, and sometimes yelled 1964, four of us, with Marlboro’s encouragement and instructions concerning complex rhythms, shifting guidance, became the String Quartet, a group tempos, and the music’s essential nature. The three of that would perform on the world’s concert stages for the us were swept along by his energy and forceful vision next forty-five years. of the work. Not long after, we walked out onto the

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85316_Watkins.indd 8 6/23/11 9:48 AM Not once in all the years I studied the violin did any in America solely from concert fees. There was the marlBOrO at sixty of my teachers mention chamber music as an essential , perhaps the very young Juilliard, and part of a young musician’s education. Indeed, I entered then many others that had to supplement their quartet by Arnold steinhardt the Curtis Institute of Music at the age of seventeen income with teaching and other work. “Marlboro is the perfect training ground for our future musical giants.” without ever having studied or performed even a single string quartet. I learned years later that several of my It is almost impossible to exaggerate the importance of violin teachers played chamber music for their personal Marlboro in the formation of many professional chamber enjoyment, but my lessons were only about the solo music ensembles, including the . But repertoire—concertos, challenging and brilliant etudes, even more significant is the role it played in changing and dazzling show-pieces. That was fine with me. Like people’s attitudes about chamber music in general. The many of my violin-playing friends, I wanted to be the profession was a somewhat segregated next great soloist. And Curtis, geared to be the ultimate place when I was in school. Concert managers strongly training ground for future soloists and top-notch advised musicians trying to nurture a solo career not orchestral players, did nothing to dispel that notion. I to play chamber music in public. They warned that it entered the school in 1954, a time when chamber music would send the wrong message. After all, those who was considered more an elective than anything else. My performed chamber music were failed soloists, weren’t first chamber music experience there, studying Mozart’s they? But then Marlboro, established in 1951, arrived G Major String Quartet, K. 387, with , on the scene. Word spread quickly amongst music lovers the first violinist of the , was not but also to music students everywhere that there was a a completely happy one. The music was unquestionably place in the verdant, rolling hills of Southern Vermont attractive, but despite Brodsky’s expert advice and where chamber music of the highest order was being encouragement, I found it highly uncomfortable to play played. What’s more, three of its founding members, well while having to fit in with three others who often Adolf Busch, Rudolf Serkin, and Marcel Moyse, were had maddeningly different ideas about Mozart. And not only great musicians but internationally known Brodsky not only demanded a unified musical concept, and venerated soloists as well. The powerful message but he also expected us to play together and in tune at broadcast by Busch, Serkin, Moyse, and such revered all times! After we had finished studying the work, I artists as Pablo Casals who followed at Marlboro was concluded that playing string quartets was the equivalent that it was fine to be a soloist, fine to be a chamber of being put into a musical strait jacket. Better to plug musician, and even better to be both. away at those scales, etudes, and the virtuoso repertoire, and dream on about a solo career. Still, chamber music , , , and I, four began to surreptitiously sneak up on me and on many musicians with separate professional lives, kept returning of my school friends. It was surprisingly satisfying to to Marlboro year after year in the early 1960s. It was gather for chamber music parties in which we read hard to keep away given the golden opportunity we had through music late into the night—in the process to study the great chamber music repertoire thoroughly discovering one by one the miraculous creations of and at leisure without the pressure of performance, an Haydn, Mozart, Beethoven, Schubert, and on and on. unheard-of phenomenon at most music festivals. (Then Two of the students with whom I shared those very and now, only a small percentage of works studied at first encounters with chamber music, John Dalley and Marlboro make it to the concert stage.) Often, I would Michael Tree, were to become future founding members find myself in a group with David, John, or Michael. of the Guarneri Quartet. Having become superficially We admired each other’s playing and got along very acquainted with these masterpieces, the natural next well. At some point, the four of us began talking over step was to study them more seriously at school. How lunch and between pranks that were an endearing moving it was to finally perform a Brahms two-viola Marlboro fringe benefit about the possibility of forming quintet, the Two Quintet of Schubert, or a late an ensemble together—but not just any ensemble—a Beethoven string quartet. string quartet. Each of us harbored a special love for the string quartet’s enormously rich repertoire and a Once the applause for these student performances reverence for the impact that a mere four voices could had died down, however, it was back to hours of solo wield when they joined forces. Albert Einstein once repertoire practice in preparation for the competitions said that things should be as simple as possible, but no we planned to enter and hoped to do well in. Winning simpler. That, exactly, is what I felt so acutely years a major competition was an important first step for a earlier at Marlboro when Sasha had drafted three of would-be soloist. Playing chamber music might be us into the study and eventual performance of Bartók’s deeply gratifying, but not once did I hear any of us Second String Quartet. The emotional and substantive planning to play string quartets professionally, and for effect of four individual voices brought together by a good reason. You could count on less than the fingers of master such as Bartók was staggering. Wouldn’t it be a one hand the number of string quartets making a living dream-come-true to start a string quartet!

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85316_Watkins.indd 9 6/23/11 9:48 AM Rudolf Serkin promised us time the next summer at interactions with musicians I deeply admire—is the Marlboro to rehearse on our own, and also presented us Marlboro I know and love, the Marlboro that in large with a bottle of champagne. Sasha Schneider advised part has shaped who I am as a musician. us on the dos and don’ts of quartet life (no critiquing after concerts, for example), and offered us a debut After an absence of over three decades, I am again a concert in City for the next season. Four participant in Marlboro. By some sleight of hand, many individuals who were drawn into Marlboro’s powerful of us who were once youngsters here are now mentors gravitational field had finally decided on forming what to the next generation. It is a heavy responsibility but a was to become the Guarneri String Quartet. On a late fulfilling one. Marlboro’s newest young musicians are as summer day in 1963 when the leaves were already gifted as ever. Since returning, I have again and again beginning to turn color, the newly constituted quartet, heard moving performances that transcend polished but one still nameless, without a manager, and with no ensemble and solid musicianship. This “goose bump guarantee of a future career, sat down in a tiny music room factor,” as I like to think of it, is what Marlboro is all at Marlboro and read through Mozart’s String Quartet about, and this is what the present directors, Mitsuko in D Minor, K. 421. I remember thinking that I had died Uchida and Richard Goode, represent. They are wise and gone to heaven, such was the beauty of Mozart and and vastly experienced musicians, but above all, they the sense of our four voices bound together in glorious are artists. When all is said and done, it is the magic music making. John Dalley laughed when I recalled my of their performances at the school (as with Rudolf memories recently. He thought that those first notes Serkin’s in past years) that will inspire the new crop out of our quartet had sounded terrible. It was such a of young musicians to search for their own brand of Marlboro moment. At Marlboro, opinions are always magic. As the Marlboro School prepares to celebrate flying about along with wadded napkins in the dining its sixtieth birthday this year, I have the same feeling I hall. A visitor might at any moment overhear: “Must had over a half a century ago: The place is inhabited by we make that ritard,” or “What? You think Poulenc is a musical giants. But I have another thought: Marlboro great !” or “The last movement sounds like we is the perfect training ground for our future musical have a train to catch,” or “You’d take Bach if marooned giants. on a desert island? Definitely Schubert for me.” All q this—the music making, the discussions, the countless Arnold Steinhardt, Marcel Moyse

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85316_Watkins.indd 10 6/23/11 9:48 AM p Jaime Laredo, Arnold Steinhardt, Michael Tree q Sarah Kapustin, Arnold Steinhardt,

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85316_Watkins.indd 11 6/23/11 9:48 AM planting musical traDitiOns in VermOnt sOil

arlboro Music’s founders and their colleagues score, not just one’s part; to listen; to compromise; to be brought with them from Europe the concept supportive of one’s colleagues—invaluable life as well Mthat chamber music is invaluable in becoming as musical lessons. Serving the composer, rather than a sensitive and compelling musician, and shared the performer, remains at the heart of the Marlboro this with generations of young American musicians. experience. Chamber music, they felt, teaches one to learn the full

p Alexander Schneider, Rudolf Serkin

Alexander Schneider came to Marlboro in 1956 and was a dynamic force there for over 20 years. Having brought Pablo Casals out of self-imposed exile from Franco’s by creating the in Prades, he helped to bring Casals to Marlboro.

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p Eugene Drucker, Felix Galimir “I went to Marlboro for five consecutive summers, from the age of 20 through 24, and it had a huge impact on my approach to all periods of chamber music, from the baroque through contemporary… Felix Galimir, who in the 1920s and 30s had a quartet with his sisters in , had worked with Berg and other important figures. In fact, Ravel was at their recording session of his quartet in . I played Schoenberg’s Third Quartet and Berg’s Lyric Suite with Felix at Marlboro as well as quartets by Bartók, Ravel, and other important figures of the 20th century…The Emerson Quartet played for Felix once or twice during our early years, and he was very helpful as we prepared for important performances in New York. We still shape the tarantella theme of the last movement of Schubert’s Death and the Maiden in the style that Felix suggested.” — Eugene Drucker

p Pablo Casals, Jaime Laredo, Masuko Ushioda,

“[Casals] gave one the feeling that music was the most important thing in the world at the time. There wasn’t anything else. That was it. Which was an incredible gift, to his listeners, and a gift to his students and a gift to the public. And no matter what the music was—it could be a simple piece, something like the Rubinstein Melody in F—and he made you believe that was the greatest thing that had ever happened. He had tremendous musical integrity.” — David Soyer

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85316_Watkins.indd 13 6/23/11 9:48 AM yOu? Fauré witH me?

by eric bartlett

rowing up in Marlboro in the 60s, the music told him that I had grown up here, but that this summer festival represented a welcome summertime we would be playing together. He smiled amiably, but I Gdiversion. We lived a quiet rural life, a quarter sensed that I had not been clear so I said that we would mile from the nearest neighbor, but right on South be playing the Fauré Quartet together and that the first Road, the only paved road to Marlboro College…When rehearsal was tomorrow. At this his eyes grew wide with we were young, soon after school let out for the summer amazement. “You?” “Fauré, with me?” For the next two we would see “the little man” walk by our house every weeks he would stop every rehearsal at some point to day…We would wave and he would wave back with his tell the others about me riding my bike back and forth enormous hands and a big smile. We asked Mom who around him as a kid, with all of our smiling and waving. he was and she only knew that he was connected to the This was, of course, Mr. Horszowski. At the age of 88 he festival and that he was a pianist. In the summer of 1978, was learning the Fauré G Minor Piano Quartet for the the year I attended the festival, I stopped him out in first time, and every day he was delighted with the new front of our house, in the middle of that same walk, and things he had discovered in the score.

q Karina Serkin, , Mieczyslaw Horszowski

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85316_Watkins.indd 14 6/23/11 9:48 AM t Yo-Yo Ma, Mischa Schneider yOu? Fauré witH me? “Marlboro was the place where I decided to become a musician, and, more importantly, where I met my future wife. The four summers by eric bartlett I spent at Marlboro were great formative years. It was there that I was first exposed to the fellowship of colleagues young and old… And it was there that I began questioning things in music. Living through these summers, experiencing the great chamber music literature for the first time, led me to a commitment to music I could not have received from one school or teacher.” — Yo-Yo Ma

Sándor Végh the Beethoven Grosse Fugue, Op. 133 in 1975.

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85316_Watkins.indd 15 6/23/11 9:48 AM reFlectiOns FrOm an auDience memBer

by Dr. Günes¸ n. egˇ e Discovering Marlboro as a student in 1956 endowing an annual Marlboro concert in in 2010

t has always been a pleasure to hark back to and they would drop me off at Marlboro. I figured I was memories of my first visit to Marlboro, Vermont, all set! The limousine came and I hopped in. I think the Iso I will try to recapture the delight of that early charge was $10.00. adventure. So we went winding up scenic Route 9 and the When I came to Barnard College, it was not the limousine stopped by the side of the road in the middle opportunities offered by the zoology laboratory, but of nowhere, which was said to be Marlboro. I tried to rather the reality that I could listen to much of the appear unfazed but couldn’t help wondering where Haydn, Mozart, Beethoven, Schubert, Chopin, and the amenities suggested by the dot on the map could Brahms repertoire on records in the library which possibly be. I started walking. The cemetery on the left enhanced my college experience! As one of very was reassuring; where there was a cemetery there had few foreign students at Barnard College in the early to be people! 1950s, I was a lucky recipient of tickets to cultural events provided by the Foreign Student Advisor, Pretty soon I came upon a Vermonter rocking on his Miss Dorothy Fox. Thus I became acquainted with porch, smoking a corn-cob pipe. I asked him about the and the Met. On one occasion I took Marlboro Music Festival. “Keep walking!” he said. It the bold and extravagant initiative of purchasing a was a hot summer day; I took in the delicious smells ticket to hear Rudolf Serkin play the Emperor Concerto and sounds of the summer and spotted berries on the with the Orchestra under bushes by the side of the road. I had no idea what lay in a concert which included Rossini’s ahead of me, where I would spend the night, and how Overture to La Gazza Ladra and the Brahms I would get back to the following day. The road Symphony No. 1. It was the first time I had heard a was deserted. But then, suddenly, a big car pulled up live performance of a and it was beside me. A slight gentleman opened the door on electrifying. The concert program, which had the the passenger side and didn’t even ask me where I was usual biographical sketch about the soloist, mentioned going, for it must have been obvious. I thanked him Marlboro, Vermont, the Busch family, and chamber and unhesitatingly got in his car. After what seemed music, which intrigued me. like a long silence I said, “I’ve heard so much about the Marlboro Music Festival I just had to come…” He In the summer of 1956 I was determined to explore the smiled and in a foreign accent said, “It is an interesting matter further. I pored over some maps and figured out place…You will enjoy it.” that Marlboro could be reached through Brattleboro, Vermont. The dot which represented Marlboro on the He dropped me off at the bottom of the little hill leading map should be someplace with reasonable amenities if up to the dining room and drove off on the dirt road. it also boasted a chamber music festival, I said to Persons Auditorium had not been built and concerts myself. were held in the dining room. On weekends there was an afternoon and evening concert on Saturdays as well as a Early on a Saturday morning I took a bus from Boston to Sunday afternoon concert. I walked up the hill. There Springfield, , and a train from Springfield was a small crowd gathered. Then we gradually moved to Brattleboro, Vermont. At the station I asked about into the dining room which was a very intimate space. transportation to Marlboro but was greeted with an The current extension had not been built yet and there expression of puzzlement and a shrug. I walked up Main was barely enough room for a hundred people. When Street. The overhead banners welcomed everyone to a the performance started, I realized the slight gentleman ‘Firemen’s Convention.’ At the corner was the Brooks with the foreign accent who had given me a ride was Pharmacy with the Brooks Hotel above it. I inquired at the late Marcel Moyse. As well, I may be one of the few the pharmacy. Marlboro was ten miles up the road, there current audience members who have heard Anthony was a limousine which went by on its way to Albany Checchia the bassoonist! And the enchantment of

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85316_Watkins.indd 16 6/23/11 9:48 AM reFlectiOns FrOm an auDience memBer by Dr. Günes¸ n. egˇ e Discovering Marlboro as a student in 1956 endowing an annual Marlboro concert in toronto in 2010

listening to Rudolf Serkin playing a Mozart concerto family, where over the past half century I have always with a small, young orchestra in a Vermont barn still found joy, inspiration, motivation to keep playing my lingers… piano, and have broadened my musical horizons. Some things have changed, faces we eagerly searched for are Except for a few intervals during my internship year, no longer to be found, but the soul of Marlboro remains subsequently when I was in , for unaltered. postgraduate training, or when caught up in family- related missions, I have been fortunate in being able Günes¸ N. Egˇe, MD. FRCS, FRCPC to attend the Marlboro Music Festival with friends and Toronto, Ontario, Canada

Marlboro Music greatly values the devotion and friendship of so many of its audience members, and is especially grateful to Dr. Egˇe for establishing an endowment fund to offer an annual Musicians from Marlboro concert in Toronto.

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t Marlboro, exceptional young professional “I was 19 when I first went there...Before that, musicians get to play together with—rather I had played chamber music, but mainly with Athan simply be coached by—master artists. It is schoolmates and friends; when we felt a piece was a dynamic learning experience, born on this Vermont ready, we’d take it to a teacher—but I never had hilltop, that has helped to develop new generations of the opportunity to work on it from the beginning musical leaders. with an established artist. In Marlboro, I could do this with many pieces, and my first year was a kind of revelation: There were suddenly so many valid points of view and so many exciting ways to make music. Totally different ways. There was a new freedom in my life.” —

Madeline Foley rehearses the Debussy Cello Sonata with 15-year-old Richard Goode; Goode returned 30 years later to share his ideas with , who came to Marlboro for his first of three summers at age 17, and with Asako Urushihara.

85316_Watkins.indd 18 6/29/11 3:55 PM siDe By siDe

p Samuel Rhodes, Alexander Schneider

Violist Samuel Rhodes came to Marlboro in 1960, at 19, for the first of nine summers. His experience at Marlboro prepared him well for his invitation to join the Juilliard Quartet. For the last 20+ summers, he and his wife, violinist Hiroko Yajima (this is one of 62 Marlboro marriages), have returned to share their Marlboro experiences, and more, with a new generation.

u Brian Chen, Samuel Rhodes

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or more than a decade, beginning in the early He helped to establish a Resident Composer program, , inspired the exploration of which has included such young as John Fnew areas of the repertoire, including such works Adams, , and Tison Street. It remains as Stravinsky Les Noces, Messiaen Oiseaux Exotiquex, a vital part of the Marlboro experience, and recent years and the Schoenberg Chamber Symphony. have seen visits from György Kurtág, , George Benjamin, and Thomas Adès, among others.

p Arnold Steinhardt, , Leon Kirchner,

“I remember that first night that I came to Marlboro, when these players were giving their all to this very difficult work of , the Viola Quintet, and the feeling of finding in this place, in the middle of a forest, five individuals working so concentratedly and so unbelievably lovingly over this very, very difficult work. That picture was the picture of Marlboro.” — Leon Kirchner

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t Alexis Pia Gerlach, Thomas Adès, Marcy Rosen

q and composer Zoltán Kodály

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85316_Watkins.indd 21 6/23/11 9:48 AM tHe serkin legacy

wenty years ago, we paid tribute to Rudolf Serkin “I was not a Serkin pupil like Richard Goode, for his enormous contribution to Marlboro and but there’s almost not a day that I don’t think Tto music: of him as an influence. And his influence on me was an ethical influence: The ethics of music- rudolf serkin (March 28, 1903 - May 9, 1991) making, to respect the composer, to respect the score, what’s written there, and not just He spoke to us with a rare honesty and commitment, superficially. I mean, we all say we respect the not through his words but through his music and score, but it’s not enough. He went to the depths example. In a time when society seemed to value of it and the limits of it. What is a sforzando? success above all else, he demanded far more from What is a subito piano? And also, as a philologist us and from himself. At Marlboro, he created a true to look for the best possible editions, go to the and lasting family, not just an institution. He made first editions, get the facsimile of the manuscript. us all strive to be better than we were. He changed I learned this very much from Rudolf Serkin as our lives. a fantastic musician. I think, to me, this is his message, his heritage.” — András Schiff The fact that Marlboro continues with the structure, standards, and spirit that Rudolf Serkin established is perhaps his greatest legacy.

Choral Fantasy The traditional closing work of the Marlboro season is Beethoven’s , here with Rudolf Serkin as soloist and Leon Kirchner conducting the Marlboro Festival Orchestra.

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85316_Watkins.indd 22 6/23/11 9:48 AM tHe serkin legacy

“Almost fifty years ago, Rudolf Serkin led the Marlboro Music Festival. At the same time, my grandparents—Arthur and Lillian Benjamin— managed the kitchen at Marlboro College. The relationship between Mr. Serkin and my grandparents could best be described by that old adage, “a mutual admiration society.” One afternoon, after a concert, Mr. Serkin led a distinguished guest out of the concert hall, past the guest’s Secret Service detail, and up the hill to the dining hall. He knocked on the kitchen door, and when my grandfather opened it, Mr. Serkin said, “Mr. Benjamin, I’d like you to meet my good friend.” That night, my grandparents and I all shook hands with the Vice-President of the United States, Hubert Humphrey, Mr. Serkin’s “good friend.” — Thomas Hudon

u (top) Rudolf Serkin, Yana Salomon

(bottom) Rudolf Serkin, Sharon Robinson

q Rudolf Serkin, Irene Serkin

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or those who have followed Marlboro over the Mitsuko Uchida, in a ten-page New Yorker magazine years, it has been a delight to see a wonderful profile on Marlboro, summed up her feelings: Fsense of continuity. Artists who came as young professionals in the 1960s, 1970s, and 1980s, including “In Marlboro, you get a different way of not only Co-Artistic Directors Richard Goode and Mitsuko looking at the world but also of looking at life. Uchida, have returned to give back to another If you spend weeks together, day in and day out, generation what they had gained from the founders eating the meals together, chatting and sitting and other early mentors and to share their own fresh around and drinking the beer together…you begin ideas. For Goode, performance is just a part of the to get a basic outline of what it really means to exploration process, not the essence of what Marlboro be a musician, as opposed to flying from one city is really about: to the next and rehearsing the ‘Archduke’ Trio for half an hour and then already walking on-stage. “The whole idea is to make the study of the work Ultimately, Marlboro is about the concept of time. the main thing, which it can and should be.” We have time to rehearse, time simply to think.”

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q (left) Korbinian Altenberger, Mitsuko Uchida, Susan Babini; (right) Tai Murray, Richard Goode, Nicholas Tzavaras

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t often seems that the most the first program to annually present Since then, I have participated inspired music-making takes place ensembles of mixed instrumentation in the tours many times… Iwhen musicians play more for to communities around the country. It and so have experienced the pleasure than for ‘business.’ It is that was a chance to hear masterworks of process from ‘both sides of the spirit of striving for an ideal, and the the chamber music repertoire as well aisle’—as a young musician and joy of exploring music in depth with as more unusual pieces—for example, as an experienced professional. equally committed colleagues, that many heard works such as the When I was one of the younger permeates so much of what we, as Messiaen Quartet for the End of Time musicians, I was tremendously audience members, get to hear each and the Shostakovich Eleven Songs inspired and challenged by summer in Vermont. The Musicians from Jewish Folk Poetry for the first artists such as Madeleine Foley, from Marlboro touring program allows time at a Musicians from Marlboro Felix Galimir, and Lilian Kallir, others around the country to share concert—and also a chance to as well as by my peers. Now as in this experience during the regular discover young musicians who would a senior member, I feel a joyous concert season. become some of our most treasured responsibility to once again artists. The recollection of Juilliard immerse the supremely talented In the musical world of the early 1960s, Quartet violist Samuel Rhodes helps young musicians in the wonders, touring chamber music groups were tell the story: the precise interactions, and the generally limited to string quartets technical demands of music- and a few piano trios. Musicians from “I had the honor of taking part making on the highest level.” Marlboro offered something quite in two of the three touring — Samuel Rhodes new when it began in 1965-66: It was groups during the first season.

t Efe Baltacigil, Frank Huang, Hyunah Yu, Eric Nowlin, Samuel Rhodes, Tai Murray

u (top) Murray Perahia, Isidore Cohen, , Timothy Eddy

u (bottom) András Schiff, Hiroko Yajima, Gary Hoffman

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85316_Watkins.indd 27 6/23/11 9:48 AM utOpia

by Jonathan biss “Marlboro is about the idea that time is the most precious commodity, and the most important ingredient in a musician’s life.”

n 1999, in the middle of my third summer elitist question on the highbrow end of the spectrum, to at Marlboro, I left to play with the Buffalo napkin ball fights and pranks on the other – but to me IPhilharmonic. This being a summer orchestral it’s clear that Marlboro is really just about time. More concert, there was only one rehearsal – the dress specifically, it is about the idea that time is the most rehearsal – on the day of the concert. It was my first precious commodity, and the most important ingredient time playing the Beethoven 2nd Concerto, and as is in a musician’s life. When I look back at my summers usual when I play a piece for the first time, there were at Marlboro, I realize that I have learned more from many things in the rehearsal which surprised me, and some of my rehearsals there – not just in the groups which I wanted to try again. But the concerto is 28 that ”clicked”, but the ones with protracted discussions minutes long, and the rehearsal was something like 32 about a single phrase which ultimately led to no definite minutes long, so most of these places remained, shall conclusions, and certainly not to a performance – than we say, unexplored. After these 32 minutes, we played I have from scores of concerts I’ve played that went the concert, and given that the musicians were off without a hitch. Because the time Marlboro affords extremely professional, everything went fine. you is a reminder that sometimes playing music doesn’t have to be about an end goal like a performance or a As it happens, the last 32 minutes of rehearsal I’d had recording; sometimes the exploration and the love of before leaving Marlboro for this trip were on the Brahms the music itself is point enough. Again: utopia. A Major Piano Quartet. Actually, to be precise, they were on the second subject of the last movement of the So while I do associate Marlboro with the many pieces Brahms A Major Piano Quartet. At the time, most of my I learned (the Ravel and Schumann D minor Trios, experience rehearsing was as a student at a conservatory, Schubert’s Lebensstürme, that Brahms Quartet) or first not as a soloist with , and so I felt that this heard (Mozart’s E-flat String Quintet, Janácˇek’sIntimate – a schedule which allows one to “unpack” the music Letters, Thomas Adès’s Arcadiana) there, the many, – was the norm, and that the Beethoven experience I many friends and colleagues I met, and the master was to have the following day was the exception. The musicians who remain mentors but in many cases have intervening years have disabused me of this notion: The also become friends, when someone mentions Marlboro manner in which one works at Marlboro is not merely to me, what I think about is time. Or rather than think an exception – it is a utopia. about it, I feel it: my heart rate slows, my ears open wider, and I sense life’s possibilities enlarging. Simply I’ve heard many descriptions of what Marlboro is about put, for me to think of Marlboro is to think of what it – these vary from discussions of the egalitarian vs. feels like to be a musician.

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85316_Watkins.indd 28 6/23/11 9:48 AM Utopia by Jonathan Biss “Marlboro is about the idea that time is the most precious commodity, and the most important ingredient in a musician’s life.”

t Benjamin Beilman, Jonathan Biss, Marcy Rosen, Dimitri Murrath 29

85316_Watkins.indd 29 6/29/11 4:03 PM tHe cOmmunity

Aside from the music, what makes Marlboro unique is the vibrant spirit of family. each summer, different generations, from newborns to 80-somethings, come together and share meals, chores, and social activities, forming lifelong relationships in the process.

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Aside from the music, what makes Marlboro unique is the vibrant spirit of family. each summer, different generations, from newborns to 80-somethings, come together and share meals, chores, and social activities, forming lifelong relationships in the process.

The annual international dinner (where participants, staff, and their families cook their favorite dishes for the community) and the humorous skits that follow are among the community’s social events that evoke enthusiastic responses like that of Catherine Cho.

p (top) Scott St. John takes children for a wagon ride at the annual Taplin Farm picnic; (bottom) Judith Serkin, Peter

t (top) Sam Genualdi, one of the children who help make Marlboro a multi-generational family, here with Soovin Kim and Felix Galimir; (bottom) Meghan Forrest and her mother, Lisa Salomon, at the annual square dance 31

85316_Watkins.indd 31 6/23/11 9:49 AM tHe equality OF cOmmunicatiOn

A first-timer’s impressions of Marlboro by harry eyres

seven-hour flight from London Heathrow to fearsome rhythmic complexities of this piece. But my Boston followed by a two-and-three-quarter- main impression is not of an arid process of problem- A hour drive may not be the ideal way to approach solving, but of a profoundly enjoyable exploration. Marlboro. Something more meditative, involving a There are gusts of laughter, and exclamations of delight: horse and cart, and a detour to Walden Pond, would be “it’s great”, “such a choreography”, “it should be fun, it more appropriate. But you certainly feel the contrast, should be very cute.” and as you climb steadily, up wooded shoulders of the folded ranges which imperceptibly become the Green When Neidich takes up the , I’m reminded Mountains, you get a sense of how remote the place is. of the Pink Panther saxophone theme from the Clouseau films. The cellist, the extravert, big-hearted Somehow Marlboro seems remote not just geographically young Icelandic-American Saeunn Thorsteinsdottir, but also temporally. On arrival in the village the sense of complains good-humouredly that her colleagues are not time is confused by a group of clapboard buildings from following her at one point: “people are not necessarily the late 18th century; the Whetstone Inn, where I’m paying attention to your downbeat,” says Neidich, staying, is dated 1786, and, in the best possible way, has with an attempt at donnish diplomacy, and everyone kept itself remarkably free of what are called “modern dissolves in giggles. conveniences.” The Marlboro Historical Society, which meets once a week in summer, sounds improbably high- Mosaic turns out to one of the guiding threads of my minded for these latter times. week at Marlboro, which starts with one of the many rehearsals of the piece and ends with the triumphant Sense of time, sense of place and scale are intimately performance at the Sunday concert. It gives me linked. Everything at Marlboro is modest, not grand or something to hold on to, something to lead me through showy, and that modesty, I sense, is an inward, spiritual the labyrinth (I am not sure who the Minotaur would quality as much as a physical one – to do with, say, the be in this case). I get to know some of the musicians, “womb-like” nature of the surrounding landscape (Frank and am privileged to hear Neidich speak at length Salomon’s words) or the tiny size of Marlboro College, about Carter, and illuminate this contemporary master the quirky liberal arts institution which has hosted in a way no-one else has managed for me. Carter comes Marlboro Music for the last sixty years and which is said alive as , the instruments as different dramatic to be the smallest college in the United States. personae on a stage, each distinct in voice, interacting with each other, arguing, sometimes ignoring each other, But theorising only takes you so far. If I am going to just occasionally coming together in radiant beauty. understand more about this place I am going to have Not a bad image of Marlboro itself. to take the plunge. That means listen, to some of the many rehearsals that are going on every day, in spaces Serious fun could be one of Marlboro’s mottoes. After across the campus, all marked up on the famous schedule the Carter rehearsal I join everyone for lunch in the board outside the dining hall. dining hall, which reminds me not so much of my own college days as of even earlier times at two English If you’re going to take the plunge, you might as well boarding schools. Not that we would have been allowed dive in at the deep end. The first rehearsal I attend is of to indulge in the solemnly childish ritual of napkinball- ’s Mosaic, a glittering, intense 10-minute throwing, which I try to study in anthropological fashion, work from 2004 for harp, violin, viola, cello, double- looking for hidden codes and meanings. Eventually, I bass, flute, oboe, and clarinet. The clarinettist is the decide there are none: This is a probably just a way of slight, gangly figure of Charles Neidich, a friend and releasing the tensions which are bound to build when a associate of Carter’s for many years, and it is obvious that bunch of high-spirited, hand-picked people ask so much he will be primus inter pares, guiding the group, which of themselves and each other; and after a few days I join otherwise consists of young musicians, in the sometimes in myself, with spectacularly unsuccessful results.

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85316_Watkins.indd 32 6/23/11 9:49 AM After supper on day two, I join a group, consisting But part of the Marlboro inheritance consists in the tHe equality OF cOmmunicatiOn of the flautist Joshua Smith, the cellist Saeunn fact that Goode does not “essentially feel different Thorsteinsdottir, and the harpist Sivan Magen, who playing solo and chamber music.” As it happened, A first-timer’s impressions of Marlboro decide to play through the three flute trios Haydn after his immersion in chamber music, Goode’s solo by harry eyres wrote for the London publisher John Bland in 1789- career blossomed – “Serkin said to me ‘You’re basically 1790. I had not even known of the existence of these a soloist’” – and he has found himself playing little exquisite works, with their own unique flavour and wit. chamber music, except at Marlboro, over the last There is no ulterior motive behind this playing; simply twenty years. exploration of lesser-known repertoire by a great master. This is not leading anywhere, certainly not to This seems a good example of the Marlboro philosophy, a public performance; after all the person playing the positing a basic equality not just between individuals piano part is not a pianist. But I have the feeling that but between kinds of music. The whole Marlboro I am privileged to be part of something that is both experience could be defined as a set of variations on entirely unpretentious and absolutely vital; the essence Jacques Barzun’s deceptively simple statement that of music-making as shared enjoyment. “all communication implies equality.” The smallest, slightest piece will receive just as much attention Later that evening, as I walk through the darkling here as the Schubert quintet. All the music – and campus towards the coffee shop, I am stopped in my the selection of repertoire is not imposed from above tracks by more familiar music: it is the slow movement but brought by the performers – will be explored in of Schubert’s C Major Quintet, and as I peer into depth and rehearsed in detail. “I later learned,” Goode the Dining Hall I see that the burly first cellist, and explains, “that Serkin gleaned much of this from unmistakably the guiding force, is Peter Wiley. The Schoenberg and his Society for Musical Performances. group, with the exceptional, selfless violinist David There were between fifty and a hundred rehearsals McCarroll taking the first violin part, is playing, to for the performances of Mahler symphonies for four no audience, with fierce commitment and emotional hands.” intensity. I am reminded of the performance through which I got to know this work, from my father’s That might sound excessive, and the perfectionism at collection of LPs, with Pablo Casals, , Marlboro is certainly uncommon. Some pieces, Goode Alexander Schneider, , and Paul goes on, are not felt to be ready even after twenty or Tortelier, not recorded at Marlboro but featuring three so rehearsals. They can wait another year, and I will great Marlboro musicians. Nothing I hear all week will soon hear a fine example of this unhurried approach move me more, or more completely sum up the spirit of to rehearsal in a thrilling performance of Ligeti’s fierce the place, its continuity, the passing of values between and fiercely demanding Horn Trio. generations. The central continuity at Marlboro is the principle of To give a more explicit formulation of all this, there having senior musicians guiding younger ones in each is no-one better qualified than the eminent pianist group: This, in fact, is the tangible way in which the and Co-Artistic Director of Marlboro Music Richard tradition is passed on. The principle is firm but also Goode. We talk one warm, muggy afternoon sitting quite flexible. “Some groups don’t need a senior; the on a grass bank under maple trees close to the Persons senior can listen and not play, as Moyse did.” But my Auditorium. Goode came to Marlboro first when he impression over the whole week, listening to the way was 14, in 1957, when the Festival itself was still quite musicians such as Wiley in the Beethoven Septet, young. He studied with Rudolf Serkin later and gained Neidich in Carter’s Mosaic, and Mitsuko Uchida from him his essential Austro-German upbringing. in Brahms’s C Minor Piano Quartet transmit their “I felt the intensity of his musical concentration, the wisdom and experience to younger colleagues, is that faithfulness to the score, the attention to detail. Serkin nothing at Marlboro matters more than this. Uchida was both extremely correct and an intense and great by osmosis as much as words communicates her unique performer under fire.” sensitivity to colour and minute gradations of dynamics to her receptive trio of string players. Speaking to Goode, a brilliant, self-effacing man with a professorial air, you get a strong feeling of a Co-Artistic Director Uchida has an electric and very particular inheritance having been received and effervescent presence very different from Goode’s. She being passed on with the utmost care, but without also conceives her role somewhat differently. She has preciousness. “Marlboro has been a very large fraction “her feelers” out, as she puts it; everyone at Marlboro of my musical education – my first real immersion in knows she will be there for her special breakfast in chamber music, my introduction to chamber music as the coffee shop at 9:30, and she will be there again in a way of life.” the evening when people unwind and open out. Her

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85316_Watkins.indd 33 6/23/11 9:49 AM speciality is not just musical dynamics but the more Others, such as the mezzo Jazimina MacNeil, are at an unstable and treacherous area of group dynamics. “You earlier stage, just embarking on post-graduate study: She have got to make sure everyone is happy,” she says. put it to me, with a disarming openness and sincerity, that Marlboro has “contributed to my burgeoning Uchida worries, as we talk one evening over Japanese understanding of what being a human being is about, tea-bowls of Macallan malt whisky, not just about which feeds into my singing.” For her Marlboro, all that how extra-musical relationships can affect musical is good about the place, “grows out of a great pool of ones, but also about the world outside Marlboro and love, for music.” how “the changing times” are impacting on the ideal musical republic founded by Busch, Serkin, and Moyse. Time plays strange games at Marlboro. As Uchida Changing times mean, in part, changing economics has said, there is the great luxury of having an almost and the sheer difficulty of making chamber music into infinite amount of time, but that time can pass both a viable way of life. “A string quartet means five plane very slowly and very fast. Certainly for me the end tickets for the players and the cello, and small halls of my week looms up just as I am beginning to feel with small audiences; how do the economics add up?” acclimatised to the place. But it can be celebrated in Such questions, linked to the survival of the apparently the public performances of pieces I have followed in anachronistic but uniquely valuable republic of rehearsal, including Carter’s Mosaic but also the two Marlboro, can keep her awake at night. Brahms piano quartets and the Beethoven Septet. This last, with Peter Wiley inspiring everyone from the cello, Marlboro may be at a crossroads, Uchida says, but it eyes darting in all directions, Sarah Beaty unforgettably has always been at a crossroads. There was never alive, limpid, and tender in the clarinet part, Tien-Hsin a masterplan, and things have constantly evolved. Cindy Wu rising undaunted to the virtuoso demands What remains, and what I get the impression Uchida of the violin part, Benjamin Jaber gloriously deadpan will defend with her life, is the great Austro-German on horn, seems to me a prime embodiment of Marlboro tradition personified by Serkin’s intense seriousness, at its best. A piece often slightly looked down on, as perfectionism, and dedication to the music. “light” Beethoven, has been mined and explored with infinite care, brought to life in every detail, performed This is all making the place sound exceptionally in the end with infectious joy. earnest, which it is not. As I write I am recalling not just the napkinball-throwing, but swims down at the The work that is done at Marlboro does not end at South Pond and frisbee and basketball sessions (certain Marlboro. I am reminded of something Peter Wiley has brilliant musicians are endearingly bad at basketball) said during a rehearsal: “keep it here amongst us and it late into the evening on the lawn in front of the dining will be good out there.” He meant out in the auditorium hall. But maybe just because Marlboro encompasses but the implications go further. For decades now the not just music, but a whole communal way of living music-making of Marlboro has been taken out into the extending over seven weeks of a New England summer, wider world, specifically in the form of the Musicians it has such a profound effect on people. from Marlboro programme and more generally in the worldwide diaspora of musicians who have found in Musicians for decades now – you can think of such this remote and peaceful neck of the woods an essential distinguished names as Murray Perahia, Yo-Yo Ma, point of reconnection to music, to certain values and András Schiff, Joshua Bell, Samuel Rhodes, Nobuko essences that go even beyond music, and to themselves. Imai, Radovan Vlatkovic – have been insisting that At the end of my week I feel that it may be of surpassing Marlboro is not just musically inspiring but life- importance in a scattered, distracted world that the changing. Anthony McGill, principal clarinettist of little republic is kept “here amongst us.” the Orchestra in New York, joins the chorus: “Marlboro changed my life completely – Harry Eyres is a columnist (‘Slow Lane’) in London for gave me the imagination of what my life could be. And The Financial Times. it was realised right here, playing with musicians like Mitsuko.” McGill is returning to Marlboro as a mature musician now, in his early thirties. u (top) Tien-Hsin Cindy Wu, Milena Pajaro-van de Stadt, and Peter Wiley in a rehearsal of the Beethoven Septet

u (middle) Charles Neidich, Sarah Beaty

u (bottom) Community members enjoy a game of “Knockout” after dinner.

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85316_Watkins.indd 35 6/23/11 9:49 AM recOrDings

ver the last six decades, recordings of over a The 60th Anniversary is being celebrated with three hundred Marlboro performances have allowed new on the Marlboro Recording Society label, Omany who have never visited Vermont to available through ArkivMusic. David Soyer is being experience the dynamic, spirited music-making that honored with an that includes a performance he occurs at the festival each summer. These recordings gave of the Beethoven “Archduke” Trio in 2006 at the (most on the Sony Classical label) include many age of 83, with Mitsuko Uchida and violinist Soovin Kim. historic performances: orchestral works, such as the An album of vocal music offers a 1967 performance of Bach Orchestral Suites, as well as Beethoven and Mozart the rarely-heard Shostakovich Eleven Songs from Jewish symphonies, conducted by Pablo Casals; chamber music Folk Poetry, op. 79, featuring , Glenda masterworks including a 1964 performance of the Maurice, Jon Humphrey, and Luis Batlle, along with a Mendelssohn Octet featuring Jaime Laredo, Alexander work by 2009 Composer-in-Residence Robert Cuckson Schneider, Samuel Rhodes, Jules Eskin, and the for voice and eight instruments, featuring mezzo- members of the Guarneri String Quartet (formed that soprano Jennifer Johnson Cano. The third album offers very summer at Marlboro); and the renowned recording fresh interpretations of the Ravel and Debussy String of the Schubert Der Hirt auf dem Felsen featuring Benita Quartets, along with a 2010 performance of Ravel’s Valente, Harold Wright, and Rudolf Serkin. Introduction et Allegro.

In 1969, the Marlboro Recording Society was formed In addition to the CDs still available, Sony Classical with the generous support of Dr. Andre A. Aisenstadt is making all of its Marlboro recordings available for to record works that were not readily available on CD, download. Marlboro recordings no longer in the Sony as well as special Marlboro performances that Rudolf catalogue are available through ArkivMusic, which is Serkin and Mischa Schneider, Director of Recordings releasing, for the first time on CD, four early Marlboro and Archives, felt should be shared with others. The recordings including Schoenberg’s Verklarte Nacht with Hindemith Octet for Winds and Strings with Siegfried Felix Galimir and the Busoni Fantasia contrappuntistica Palm; Boccherini quintets with Pina Carmerelli; the with Peter Serkin and Richard Goode. Brahms Serenade in A Major, op. 16 conducted by Pablo Casals; Schoenberg’s Serenade, led by Leon A complete list of Marlboro recordings is available Kirchner, and Chamber Symphony, No. 1, op. 9, with at www.marlboromusic.org or at the reception desk at Felix Galimir, are just a few of the works that were Persons Auditorium. added to the Marlboro recorded repertoire.

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Brandenburg Concertos: Pablo Casals conducting a recording session of Bach’s .

t Rehearsal of Robert Der gayst funem Cuckson’s shturem, featuring , Yonah Zur, Beth Guterman, Saeunn Thorsteinsdottir, Jennifer Johnson Cano, Zachary Cohen, Sivan Magen, Jose Vicente Castello, and Sarah Beaty

u Soovin Kim, Mitsuko Uchida, and David Soyer rehearsing Beethoven’s “Archduke” Trio

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85316_Watkins.indd 37 6/29/11 3:56 PM apple tree marlBOrO scHOOl OF music, i nc.

by Philipp naegele trustees 1951 – 2011

here is an ancient apple tree at the very center from fruit as it drops to the ground in August, weeping of the Marlboro campus, one of several bearing with and applauding the music that, like the apples, Twitness to the orchard and farm that lived here is the fruit of a summer’s dedication. The cider aroma once, before the arrival of students and musicians. of apples on the ground mingles then with the sounds Only a few steps from the dining hall, where today of instruments and voices, lingering suspended in the music and meals, dances and skits, discussions and atmosphere. daydreams send out their sounds, aromas, lights, and intangibles, the apple tree has stood, for longer than The apple tree is unlike others of its kind. It has not most of us may well have to live, as a silent, patient, only risen upward, but has sent out trunk-thick limbs observant, self-possessed, perennially fertile presence horizontally, close to the ground – limbs that have re- through Vermont’s seasons of extremes and through the rooted and can sustain the weight of ice and snow, of the transformations of its surroundings, ever undiminished canopy’s ever expanding reach, of climbers and crops and in its vitality and the welcoming of its open arms. time. It has even survived a major amputation recently. A horizontal stump presents to our unsettling sight, like Resembling more the timeless, gnarled, intrepid olive a veteran amputee, the evidence of unpeaceful times. Its trees of Gethsemane, its outspread branches have scars of age, its determination still further to spread its kindly held generations of climbing-happy children, wings, to live on, re-root, and produce new generations served as the setting for photographs of young and old, speaks to the continuing fertility of the vision of those and fed the adventurous who taste its unsolicited fruit. once re-rooting uprooted idealists from post-war Europe Untended, unpruned, year after year its nascent apples, whose heartbreaking beautiful music it first heard some unremarked at first, quietly ripen as a summer’s music sixty years ago drifting across to where it then already continues, as if to mirror, encourage, and document stood, ready to receive, treasure, and reciprocate down our own ripening efforts nearby. Its only sounds come to this very day.

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85316_Watkins.indd 38 6/23/11 9:49 AM apple tree marlBOrO scHOOl OF music, i nc. by Philipp naegele trustees 1951 – 2011

arlboro Music is made possible not only through the extraordinary generosity of our Artistic Directors and their colleague senior artists, but through the involvement and help of so many friends and donors, Mand with the special dedication, guidance, and support of our Board of Trustees. For the past sixty years, our all-volunteer Board has played a vital role in ensuring that Marlboro continues to fulfill its unique artistic and educational mission, and to maintain its important role in the world of music.

André A. Aisenstadt Alan R. Hirsig Lachlan Pitcairn Herbert Ashe Carol Colburn Høgel Ann Rose Podlipny Peter A. Benoliel John N. Houpis Susan S. Rai T. Roland Berner Judith Hurtig David Riesman Barbara H. Block William H. Roberts Harvi Bloom Elizabeth W. Janeway David H. Rose Taylor R. Briggs Robert W. Jones Susan W. Rose Carol Laise Bunker Maximilian W. Kempner Axel G. Rosin Herman Busch James M. Kendrick Jerry G. Rubenstein Henry B. Cabot David C. Knapp Angelica Zander Rudenstine Eileen T. Cline M. Victor Leventritt Paola Saffiotti Richard D. Colburn Rosalie Leventritt Robert Saudek Henry Steele Commager Richard C. Lewontin William Schwann John A. Cook Carla E. Lynton William R. Scott, Jr. M. Todd Cooke Ernest A. Lynton Christopher Serkin Ann E. Cooper Edwin A. Malloy Irene Serkin Arthur H. Copeland Sylvia Marx Rudolf Serkin, President Edward H. Dodd, Jr. Agnes E. Meyer Samuel Slosberg Mary Maples Dunn Elizabeth Meyer Anne-Marie Soullière Edith T. Estey Phyllis J. Mills David Soyer Ronald M. Ferry Lester S. Morse, Jr. Margaret R. Spanel Barbara E. Field Adele R. Moskovitz Stephen Stamas, Chairman & Corey Field Irving Moskovitz, Chairman President Sampson R. Field, Chairman Blanche Moyse H. Arnold Steinberg Avery Fisher Louis Moyse Richard Sterba Dorothy Canfield Fisher Marcel Moyse Hella Moravec Street Josephine L. Murray Frank E. Taplin, Jr., Chairman Felix Galimir Edward Naumburg, Jr. Justin Thannhauser Henry E. Gerstley Harvey Olnick Harvey S. Traison Barbara Winter Glauber Paul N. Olson Paul J. Vignos Hanna H. Gray Eliza Parkinson Ottocaro Weiss Elizabeth Polk Guest Maurice M. Pechet Robert W. White, Chairman Ruth Meyer Guffee Carolyn A. Perera Arthur E. Whittemore Dannie N. Heineman Nancy Perkins Christoph Wolff James H. Heineman Henry Z. Persons Rawson L. Wood Stephen D. Heineman Tino Perutz

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85316_Watkins.indd 39 6/23/11 9:49 AM 46 s easOns OF musicians FrOm marlBOrO participating artists

(1965-66 through 2010-11)

Piano James Buswell Cho Liang Lin Che-Hung Chen Rieko Aizawa Karina Canellakis Joseph Lin Sarah Clarke Lydia Artymiw Serena Canin Michelle Makarski Patrick Dussart de la Iglesia Nerine Barrett Pina Carmirelli Ulrike-Anima Mathé Ellen dePasquale Luis Batlle Ivan Chan Yoko Matsuda Carrie Dennis Jonathan Biss Lucy Chapman Pierre Menard Marc Desmons Ossie Borosh Baird Dodge Chee-Yun Tai Murray Karen Dreyfus Lydia Brown Robert Chen Ayano Ninomiya James Dunham Stephanie Brown Catherine Cho Hirono Oka Ulrich Eichenauer Bruno Canino Nancy Cirillo Michaela Modjeska Paetsch Nancy Ellis Seth Carlin Isidore Cohen Susie Park Daniel Foster Nathan Cole Daniel Phillips Bruno Giuranna David Golub Ronald Copes Todd Phillips John Graham Richard Goode Eugene Drucker Harumi Rhodes Beth Guterman Veronika Eberle Sylvia Rosenberg Jennie Hansen Mieczyslaw Horszowski Ralph Evans Miho Saegusa Raphael Hillyer Ieva Jokubaviciute Timothy Fain Alexander Schneider Toby Hoffman Gilbert Kalish Lily Francis Ernestine Schor Mark Holloway Lilian Kallir Carol Sindell Hsin-Yun Huang Miriam Fried Leslie Shank Hung-Wei Huang Felix Galimir Yuuko Shiokawa Christof Huebner Joseph Genualdi Laurie Smukler Amadi Hummings Thomas Lorango Alexis Pia Gerlach Mark Steinberg Nobuko Imai Lee Luvisi Jennifer Gilbert Arnold Steinhardt Yu Jin Robert McDonald Marc Gottlieb Scott St. John Kirsten Johnson Erica Nickrenz Eric Grossman Mitchell Stern Katie Kadarauch Peter Orth Augustin Hadelich Joseph Swensen Frank Huang Susan Synnestvedt Martha Strongin Katz Murray Perahia Yuzuko Horigome Naoko Tanaka Yoshiko Kawamoto Alain Planès Lynn Horner Christian Tetzlaff Sang-Jin Kim Anna Polonsky Colin Jacobsen Jon Toth Philip Kramp Stephen Prutsman Judy Kang Kai Vogler Sebastian Krunnies Cynthia Raim Sarah Kapustin Zheng-Rong Wang Rachel Ku András Schiff Tomoko Kato Robert Waters Doris Lederer Paul Schoenfield Naomi Katz Donald Weilerstein Julianne Lee André-Michel Schub Ani Kavafian Michi Wiancko Scott Lee Peter Serkin Bayla Keyes Tien-Hsin Cindy Wu Caroline Levine Craig Sheppard Hye-Jin Kim Hiroko Yajima Patricia McCarty Hyunmi Kim Peter Zazofsky Rainer Moog Reiko Uchida Min-Young Kim Carmit Zori Katherine Murdock Pei-Yao Wang Soovin Kim Yonah Zur Philipp Naegele Young Uck Kim Ah Ling Neu Violin Sarah Kwak Viola Scott Nickrenz Shmuel Ashkenasi Jaime Laredo Rebecca Albers Eric Nowlin Ju Young Baek Jessica Lee Misha Amory Heiichiro Ohyama Elena Barere Yura Lee Maurycy Banaszek Richard O’Neill Margaret Batjer Oswald Lehnert Matthias Buchholz Daniel Panner Benjamin Beilman Kathleen Lenski Judith Busbridge Maiya Papach Yehonatan Berick Ida Levin Choong-Jin Chang Cynthia Phelps David Bowlin Mei-Chen Liao Brian Chen Karie Prescott

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85316_Watkins.indd 40 6/23/11 9:49 AM Melissa Reardon Melissa Meell Jeannette Bittar Paul Ingraham Samuel Rhodes Clancy Newman Cynthia Koledo DeAlmeida Michael Johns 46 s easOns OF Lesley Robertson Michael Nicholas Kathryn Greenbank David Jolley Carla-Maria Rodrigues Georges Luis Haas Chris Komer musicians FrOm marlBOrO Ryo Sasaki Leslie Parnas Katherine Needleman Paul S. LaFollette III Naoko Shimizu Miklòs Perènyi Eric Olson Patrick Pridemore participating artists Benjamin Simon Zvi Plesser Linda Strommen Stewart Rose Scott St. John Jean-Guihen Queyras Joseph Turner Robert Routch (1965-66 through 2010-11) Burchard Tang Raman Ramakrishnan Rudolph Vrbsky Richard Solis Steven Tenenbom Kari-Lise Ravnan Robert Walters Radovan Vlatkovic´ Jessica Thompson Dorothy Reichenberger English Horn Saxophone Peter Rejto Randall Cook Lynn Klock Jonathan Vinocour Gustav Rivinius Ira Weller Sharon Robinson Clarinet Wilmer Wise Barbara Westphal Marcy Rosen Pascal Archer Phillip Ying Nathaniel Rosen Sarah Beaty Trombone Harry Zaratzian Toby Saks Frank Cohen Robert Moir Bernard Zaslav Brent Samuel Sara Sant’Ambrogio Alexander Fiterstein Harp Cello Judith Serkin Romie de Guise-Langlois Gianna Abondolo Richard Sher David Krakauer Sivan Magen Valérie Aimard Wilhelmina Smith Elsa Ludewig Fortunato Arico Jeffrey Solow Anthony McGill Guitar Susan Babini David Soyer Daniel McKelway David Starobin Soo Bae Jonathan Spitz Stewart Newbold Na-Young Baek Peter Stumpf Todd Darren Palmer Percussion Efe Baltacigil Robert Sylvester Michael Rusinek Joseph Gramley Denis Brott Margo Tatgenhorst Shannon Scott John Grimes Colin Carr Saeunn Thorsteinsdottir David Singer Neil Grover Susannah Chapman Paul Tobias Jo-Ann Sternberg Jurij Konje Paul Cheifetz Nicholas Tzavaras Kristina Reiko Cooper Jan Vogler Theresa Tunnicliff Voice Christopher Costanza Harold Wright Raquel Adonaylo Charles Curtis Peter Wiley Robie Brown Dan Mary Burgess Steven Doane Double Bass Jennifer Johnson Cano Timothy Eddy Joseph Carver Eric Arbiter Katherine Ciesinski Amir Eldan Timothy Cobb Lynette Diers Cohen Donald Collup Zachary Cohen Michael Finn David Evitts Carolyn Davis Nancy Goeres Leslie Guinn David Finckel Gail Kruvand Marc Goldberg Gregory Hopkins Madeline Foley Julius Levine Alexander Heller Stephanie Houtzeel Clive Greensmith Peter Lloyd Benjamin Kamins Jon Humphrey Jerry Grossman Marc Marder Joyce Kelley Elizabeth Koch Bonnie Hampton Kurt Muroki Daniel Matsukawa Florence Kopleff Gary Hoffman Christopher Millard Rosa Lamoreaux Janet Horvath Flute Jennifer Monroe Marvis Martin Jay Humeston Valérie Tessa Chermiset Shinyee Na Tamara Matthews Ko Iwasaki Paul Dunkel Stefanie Przybylska Glenda Maurice Jonathan Karoly Dejan Gavric´ Mark Timmerman Charles Mays, Jr. Yumi Kendall Laura Gilbert William Winstead Thomas Meglioranza Michal Korman Demarre McGill John Moore James Kreger Judith Mendenhall Horn Tamara Mumford Sumire Kudo Michael Parloff Michelle Reed Baker Mary Nessinger Lisa Lancaster Marina Piccinini John Barrows Thomas Paul Wendy Law Angela Cordell Bilger Nicholas Phan Earl Lee Carol Wincenc José Vincente Castelló Kyoko Saito Nina Maria Lee Tanya Dusevic Witek Earl Chapin Randall Scarlata Priscilla Lee Laurel Zucker Christine Chapman Sanford Sylvan Ronald Leonard Sarah Dussing James Tyeska Laurence Lesser Oboe Victoria Eisen Benita Valente Julia Lichten Leonard Arner Daniel Grabois Mary Westbrook-Geha Katja Linfield Theodore Baskin Robin Graham Hyunah Yu

41

85316_Watkins.indd 41 6/23/11 9:49 AM participating artists, 1951-2011

Piano Virginia Rubottom Eskin Judit Jaimes Maria Mosca Philip Aaberg Lorraine Falberg Li Jian Frederick Moyer Elena Abend Meira Farkas Veronica Jochum Peter Nagy Pierre-Laurent Aimard Arthur Fennimore David Johnston Michael Namirovsky Rieko Aizawa Esther Fernandez Ieva Jokubaviciute Marilyn Neeley Judith Alstadter Monica Feuermann Gilbert Kalish Toby Nevis Kenneth Amada Lilian Kallir Erika Nickrenz Ronit Amir George Fishoff Martin Kasik Ken Noda Mitchell Andrews Anita Katchen Christopher O’Riley Ruslana Antonowicz Julian Foster Michael Oelbaum Igor Ardašev Lily Fox Hilda Offermann Nareh Arghamanyan Malcolm Frager Dukju Kim Atsuko Ohori Lydia Artymiw Claude Frank Kwang-Wu Kim Vovka Ashkenazy Peter Frankl Walter Klien Peter Orth Richard Aslanian Robert Freeman Momo Kodama Cristina Ortiz Dickran Atamian Yukino Fujiwara Dina Koston Lois Carole Pachucki Edward Auer Laura De Fusco Edith Kraft Zaidee Parkinson Silke Avenhaus Shirley X. Gabis Patricia Parr Roswitha Gediga Márta Kurtág Andrea Passigli Andreas Bach Alon Goldstein Sara Laimon Rebecca Penneys Thomas Bagwell David Golub Murray Perahia Nerine Barrett Richard Goode Ruth Laredo Beverly Phillips Luis Batlle Stewart Goodyear Sally Pinkas Charlotte Behrendt Alexander Goor Theodore Lettvin Alain Planès Martin Berkofsky Judith Gordon Ernest Levenstein Boris Poliakine Boris Berman Beth Levin Eloise Polk Jonathan Biss David Gross Caren Levine Anna Polonsky Barbara Blegen Paul Gulda David Levine Walter Ponce Bonnie Bogle Renana Gutman Dena Levine Matan Porat Ossie Borosh Marian Hahn James Levine Joy Pottle Yefim Bronfman Derek Han Max Levinson Patricia Prattis Kathryn Brown Tong-Il Han Igor Levit James Primosch Lydia Brown Wu Han Frank Levy Stephen Prutsman Michael Brown Gregory Hayes Cecile Licad Hannah Prydatkevytch Stephanie Brown Andrew Heath Kuok-wai Lio Cynthia Raim John Browning Ann Heiligman Eleanor Lipkin Joel Rice Judith Burganger Martin Helmchen James Richman John Buttrick George Henry Eugene List John Ritter Bruno Canino Ivette Hernandez Thomas Lorango Jerome Rose Gabriele Carcano Judith Hirsch Jerome Lowenthal Irene Rosenberg Seth Carlin Ian Hobson Joyce Lowry Renata Rosenblatt Jeffrey Chappell Benjamin Hochman Lee Luvisi Lilli Bohnke Rosenthal Katherine Chi Paige Roberts Hoffman Pallavi Mahidhara Adrian Ruiz Chia Chou Alan Mandel Joel Sachs Van Cliburn Patricia Hopkins Stephen Manes Evelyne Crochet William Horn Wolfgang Manz Thomas Sauer Tan Crone Mieczyslaw Horszowski Alan Marks Alicia Schachter Katharina Heinz David Helen Huang Martha Massèna András Schiff Jeremy Denk Naoyuki Inoue Robert McDonald Mark Schneider William Doppman Diedre Irons Jeremy Menuhin Paul Schoenfield Martin Isepp Robert Merfeld Irene Schreier David Effron Roglit Ishay Marilyn Meyer André-Michel Schub Carol Eshak Bertrand Molia Marilyn Schultz

42

85316_Watkins.indd 42 6/23/11 9:49 AM participating artists, 1951-2011

p

Kathryn Selby John Gibbons Margaret Batjer Peter Serkin Mitsuko Uchida Eiji Hashimoto Benjamin Beilman Rudolf Serkin Reiko Uchida Gregory Hayes Joshua Bell Daniel Shapiro June Urquhart Tõnu Kalam Jeanne Benjamin Henry Shapiro Mihaela Ursuleasa Mark Kroll Krista Bennion Zola Mae Shaulis Dénes Várjon Robert Levin Yehonatan Berick Paul Shaw Maria Lopez-Vito Robert Merfeld Lori Courant Berkowitz Thomas Shepard Stefan Vladar Jens Nygaard Pavel Berman Craig Sheppard Ralph Votapek Doris Ornstein Wallace Berul Diane Walsh Charles Sherman Sophie Besançon Jeffrey Siegel Pei-Yao Wang Andrew Willis Vera Beths Antti Siirala Wendy Young Ida Bieler Paul Badura-Skoda Vivian Hornik Weilerstein Paul Biss Alexander Slobodyanik Alan Weiss Violin Carol Block Shirley Smethen Salvatore Accardo Emmanuelle Boisvert Lawrence Smith Yael Weiss Jermolaj Albiker David Bowlin Debbie Sobol Gloria Whitney Sanford Allen Aaron Boyd Ignat Solzhenitsyn James Wolfe Dorothy Alpert Norbert Brainin Claudette Sorel Elizabeth Wright Korbinian Altenberger Jacqueline Brand Roxana Wruble Christian Altenburger Elizabeth Burckhardt Victor Steinhardt Amy Jiaqi Yang Bjoern Andreasson Barbara Burgdorf Cheryl Stern Mikhail Yanovitsky Goesta Andreasson Adolf Busch Judith Stillman Marion Zarzeczna Leah Arner James Buswell Anna Stoytcheva Natalie Zhu Shmuel Ashkenasi Karina Canellakis Richard Syracuse Idith Zvi Liliana Ciulei Atanasiu Serena Canin Natasha Tadson Norma Auzin Daniel Carlson Kiyoko Takeuti Harpsichord Charles Avsharian Pina Carmirelli Marc Taslitt Mary Alderdice Ju Young Baek Charles Castleman Etsuko Tazaki Edith Picht-Axenfeld Christel Baillie Nina Tichman Maryse Carlin Dorothy Bales Corey Cerovsek Margaret Tolson Suzanne Cleverdon Gabriel Banat Ivan Chan Friederike Trauer Robert Conant Elena Barere Gilles Tremblay Kenneth Cooper Rachel Barton Lucy Chapman Kwong-Kwong Tung Paul Fayko Elisabeth Batiashvili Olivier Charlier

43

85316_Watkins.indd 43 6/23/11 9:49 AM Stephanie Chase Veronika Eberle Goto Leland Chen Sigrún Edvaldsdóttir Marc Gottlieb Helen Journet Robert Chen James Ehnes Caroline Goulding Eugene Kahn Catherine Cho Oscar Ekberg Liana Gourdjia Lilla Kalman Young-Mi Cho Ralph Evans Barbara Govatos Yukiko Kamei Daniel Chong Timothy Fain Nisanne Graff Judy Kang Virginia Farmer Endre Granat Judy Kang Nancy Chute Leonard Felberg Deborah Greenebaum Juliette Kang Nancy Cirillo Sheila Fiekowsky Roland Greutter Sarah Kapustin Diana Cohen Karin-Regina Florey Alan Grishman Tomoko Kato Isidore Cohen Lily Francis Eric Grossman Naomi Katz Nathan Cole Pamela Frank Bira Haas Ani Kavafian Richard Collins Catherine French Augustin Hadelich Erin Keefe Ronald Copes Miriam Fried Nicolas Kendall Steven Copes Eric Friedman Bayla Keyes Dorothy Ann Cramer Martin Friedmann Diana Halprin Benny Kim Bradley Creswick Ying Fu Laura Hamilton Chee-Yun Kim Peter Cropper Mayuki Fukuhara Julius Hegyi Hye-Jin Kim Miranda Cuckson Gregory Fulkerson Mary Crowder Hess Hyunmi Kim John Dalley Felix Galimir Grete Hirsch Min-Young Kim Antonino David Saschko Gawriloff Momoko Horigome Soovin Kim Alvaro de Granda Gudrun Gay Yuzuko Horigome Young Uck Kim Margarita Delacorte Sylvie Gazeau Lynn Horner Young-Nam Kim Ellen dePasquale Pamela Gearhart Bella Hristova Christopher Kimber William dePasquale Noah Geller Nai-Yuan Hu Tiberius Klausner Robert Dew Emilie-Anne Gendron Bin Huang Melissa Kleinbart Patricia Grimes Vas Dias Joseph Genualdi Frank Huang Veronica Knittel Glenn Dicterow Mila Georgieva Mark Huggins Kenji Kobayashi Sarah Dines Jennifer Gilbert Colin Jacobsen Victoria Kobayashi Baird Dodge Carroll Glenn Peggy James Robert Koff Robert Dressler Celeste Golden Alexander Janiczek Eugene Drucker Maynard Goldman Rudolf Kolisch Marilyn Dubow Marcia Goode Nora Joffe Walter Koppleman Suzanne Dyner Cora Gordon Renée Jolles Henryk Kowalski

q Pina Carmirelli, Lucy Chapman

44

85316_Watkins.indd 44 6/23/11 9:49 AM Vera Vaidman Krasovsky Sergiu Luca Ayano Ninomiya Jerome Rosen Takumi Kubota Kathy Lucktenberg Ronald Oakland Sylvia Rosenberg Sarah Kwak Si-Hon Ma Hirono Oka Julie Rosenfeld Yoon-Kyung Kwon Frances Magnes Tomohiro Okumura Michelle Ross Yvonne Lam Michelle Makarski Elmar Oliveira Miho Saegusa Lisa-Beth Lambert Bracha Malkin Jennifer Orchard Lara St. John Jaime Laredo Sidney Mann Junko Ota Scott St. John Amy Lee Varty Manouelian Igor Ozim Peter Salaff Elaine Lee Robert Mark Michaela Modjeska Paetsch Gino Sambuco Jessica Lee Ulrike-Anima Mathé Tedi Papavrami Leonard Samuels Kyung-Sun Lee Yoko Matsuda Chul-In Park Alexander Schneider Lisa Lee Saeka Matsuyama Laura Park Gottfried Schneider Yura Lee David McCarroll Susie Park Mona Schoen Ronan Lefkowitz Kerry McDermott Edith Peinemann Ernestine Briesmeister Oswald Lehnert Pierre Menard Pasquale Pellegrino Schor Hou Lei Geoffrey Michaels Oscar Pereira Joseph Schor Kathleen Lenski Thomas Michalak Jane Peters Michel Schwalbe Andrea Bircsak Leung Jesse Mills Daniel Phillips Florence Schwartz Ida Levin Shlomo Mintz Todd Phillips Robin Scott Myron Levitsky Sonya Monosoff Elizabeth Pitcairn Amnon Levy Diane Monroe Olga Polonsky Irene Busch Serkin Samuel Levy David Montagu Wen Qian Philip Setzer Weigang Li Greg Moore Michael Rabin Liba Shacht Mei-Chen Liao Blanche Honegger Moyse Max Rabinovitsj Leslie Shank Klaus Liepman Gilda Muhlbauer Joseph Rabushka Robin Sharp Lise Liepman Toni Rapport Eyal Shiloach S. Anna Lim Takahiro Muroya Florika Remetier Yuuko Shiokawa Cho Liang Lin Tai Murray Barbara Renner Helen Shklar Jasmine Lin Philipp Naegele Emi Ohi Resnick Carol Sindell Joseph Lin Sachiko Nakajima Harumi Rhodes Deborah Singer Charles-André Linale Yoshiko Nakura Gerardo Ribeiro Alan Sklar Joel Link Lucy Nedzel Evelyn Riesman Laurie Smukler Mauro Loguercio Dina Nesterenko Mary Kay Robinson Yoonshin Song Richard Luby Margot Neuhof Sharon Roffman Herbert Sorkin

q Benita Valente, Anthony Checchia, Howard Scott, Rudolf Serkin, Harold Wright

45

85316_Watkins.indd 45 6/23/11 9:49 AM p (left) Sarah Dussing, Anthony McGill, Michael Rusinek, William Winstead; (right) Mischa Schneider, Ida Levin, Carmit Zori

Barbara Sorlien Hazel Weems Paul Biss Sylvie Gazeau Ralph De Souza Annette Wegiel Virginia Blakeman Geraldine Gee Marylou Speaker Donald Weilerstein Kristine Bogyo Rebecca Gitter Annie Steiger Marcia Weinfeld Sarah-Jane Bradley Bruno Giuranna Mark Steinberg Lisa Weiss Mimi Bravar Jacob Glick Diana Steiner Elaine Weldon Lila Brown John Graham Arnold Steinhardt Steven Wernick Matthias Buchholz Charles Griffin Richard Sterba Michi Wiancko Judith Busbridge Victoria Gunn James Stern Shirley Williams Annie Chang Beth Guterman Mitchell Stern Hayley Wolfe Choong-Jin Chang John Hamilton Bruno Straumann Tien-Hsin Cindy Wu Brian Chen Mary Hammann Axel Strauss Hiroko Yajima Che-Hung Chen Jennie Hansen Takaoki Sugitani Yosef Yankelev Sally Chisholm Miriam Hartman Akiko Suwanai Ayako Yoshida Jonathan Chu Veit Hertenstein Hidetaro Suzuki David Zafer William Chute Raphael Hillyer Andrew Svilokos Marion Zarzeczna Nancy Cirillo Claudia Hofert Ian Swensen Julia Zaustinsky Sarah Clarke Toby Hoffman Joseph Swensen Peter Zazofsky Hélène Clément Mark Holloway Susan Synnestvedt Thomas Zehetmair Caroline Louise Coade Hsin-Yun Huang Caterina Szepes Zvi Zeitlin Sarah Cossum Hung-Wei Huang Naoko Tanaka Gladys Zera Nina Courant Christof Huebner Andrew Kohji Taylor Qian Zhao Wayne Crouse Amadi Hummings Christian Tetzlaff Dan Zhu Sidney Curtiss Matthew Hunter Olivier Thouin Carmit Zori Judith Davidoff Seymour Illions Elizabeth Titus Itamar Zorman Emily Deans Nobuko Imai Yan Pascal Tortelier Yonah Zur Carrie Dennis Theodore Jon Toth Rodney Dennis Yu Jin Michael Tree Viola Ellen dePasquale Scott St. John Mari Tsumura Rebecca Albers Marc Desmons Kirsten Johnson Ling Tung Misha Amory Roberto Díaz Maxine Johnson Janet Kendall Turkovic´ Steven Ansell Baird Dodge Katie Kadarauch Danbi Um Fausto Anzelmo Karen Dreyfus Eugene Kahn Elena Urioste Toby Appel Susan Dubois Endel Kalam Asako Urushihara Kyle Armbrust James Dunham Lilla Kalman Masuko Ushioda Lotte Bamberger Patrick Dussart de la Iglesia Vivek Kamath Erno Valašek Maurycy Banaszek Ulrich Eichenauer Kim Kashkashian Teresa Vannin Daniel Barrach Nancy Ellis Martha Strongin Katz Sándor Végh Cathy Basrak Gertrude Emery Naomi Katz Kai Vogler Beck Csába Erdélyi Isaac Kaufman Ulf Wallin Alisa Belzer Nina Falk Yoshiko Kawamoto I-Fu Wang Vincianne Béranger Marie Finckel Hazel Kerlin Zheng-Rong Wang Lori Courant Berkowitz Luke Fleming Myra Kestenbaum Robert Waters Hatto Beyerle Richard Foodim David Kim Julia Watson Luigi Alberto Bianchi Daniel Foster Sang-Jin Kim

46

85316_Watkins.indd 46 6/23/11 9:49 AM p (left) Claude Frank, Lilian Kallir; (right) Marie Luise Neunecker, Rudolph Vrbsky

Sylvie Gazeau Kay Knudsen Nokuthula Ngwenyama Ji Hyun Son Cello Geraldine Gee Philip Kramp Scott Nickrenz Herbert Sorkin Gianna Abondolo Rebecca Gitter Boris Kroyt Eric Nowlin Marylou Speaker Valérie Aimard Bruno Giuranna Sebastian Krunnies Richard O’Neill Arnold Steinhardt Gerald Appleman Jacob Glick Rachel Ku Heiichiro Ohyama Victor Stern Fortunato Arico John Graham Rachel Kuipers Milena Pajaro-van de Stadt Ellen Marie Arrigo Charles Griffin Lee Lane Daniel Panner Burchard Tang Susan Babini Victoria Gunn Jaime Laredo Maiya Papach Lucille Taylor Soo Bae Beth Guterman Doris Lederer Massimo Paris Steven Tenenbom Na-Young Baek John Hamilton Hanna Lee Arrigo Pelliccia Jessica Thompson Christopher von Baeyer Mary Hammann Julianne Lee Guillermo Perich Julie Thompson Eric von Baeyer Jennie Hansen Scott Lee Masumi Per Rostad Grace Bahng Miriam Hartman Yura Lee Paul Pesthy Karen Trampler Alexander Baillie Veit Hertenstein Pierre Lenert Cynthia Phelps Walter Trampler Efe Baltacigil Raphael Hillyer Caroline Levine Elizabeth Phillips Michael Tree Bronwyn Banerdt Claudia Hofert Myron Levitsky Glenna Pohly Jessica Troy Marcia Barbour Toby Hoffman Teng Li Vicki Powell Ling Tung Melissa Barnard Mark Holloway Bernard Linden Madeline Prager Thomas Turner Eric Bartlett Hsin-Yun Huang Natasha Lipkin Karie Prescott Francis Tursi Vivian Barton Hung-Wei Huang Hui Liu Hannah Prydatkevytch Pierre Basseux Christof Huebner Leslie Malowany Melissa Reardon Asdís Valdimarsdóttir Lorin Bernsohn Amadi Hummings Raymond Marsh Dorian Rence Robert Verebes Lowri Blake Matthew Hunter Tatjana Masurenko Rhea Robert Vernon Ulrich Boeckheler Seymour Illions Patricia McCarty Samuel Rhodes Jonathan Vinocour Ramon Bolipata Nobuko Imai Donald McInnes Toni Riley Ilona Vukovic Terry Braverman Theodore Israel Jorge Mester Lesley Robertson Geraldine Walther John Brockway Yu Jin Susie Mészáros Carla-Maria Rodrigues Meng Wang Melissa Brooks Scott St. John Catherine Metz Ellen Rose Ira Weller Denis Brott Kirsten Johnson Geoffrey Michaels Jerome Rosen Barbara Westphal Regula Burckhardt Maxine Johnson Milan Milisaljevic Amélie Roussel Ralph Wheelock Herman Busch Katie Kadarauch Gaetan Molieri Arthur Royval Evan Wilson Eugene Kahn Sonya Monosoff Ryo Sasaki Barbara Wright Gabriel Cabezas Endel Kalam Raymond Montoni Eckart Schloifer Donald Wright Colin Carr Lilla Kalman Rainer Moog William Schoen Phillip Ying Sarah Carter Vivek Kamath Annemarie Moorcroft Ernestine Briesmeister Schor Mary Sang-Hyun Yong Pablo Casals (Special Guest) Kim Kashkashian Linda Moss Midhat Serbagi Harry Zaratzian Nathan Chaikin Martha Strongin Katz Blanche Honegger Moyse Irene Busch Serkin Bernard Zaslav Susannah Chapman Naomi Katz Katherine Murdock Jack Shapiro Paul Cheifetz Isaac Kaufman Dimitri Murrath Naoko Shimizu Raphaël Chrétien Yoshiko Kawamoto Philipp Naegele Minna Shklar Viola da Gamba Rosalyn Clarke Hazel Kerlin Ah Ling Neu Benjamin Simon Judith Davidoff David Cole Myra Kestenbaum Paul Neubauer Jonah Sirota Richard Taruskin Rohini Coomara David Kim Margot Neuhof Meredith Snow Kristina Reiko Cooper Sang-Jin Kim Lawrence Neuman Benjamin Solow Roberta Cooper

47

85316_Watkins.indd 47 6/23/11 9:49 AM p (left) Yuzuko Horigome, David Soyer; (right) Kai Vogler, Roglit Ishay, Siegfried Palm

Christopher Costanza Klaus Heitz Robert Maine Marcy Rosen Charles Curtis Stephen Herrold Nathaniel Rosen Robie Brown Dan Takeichiro Hirae Hampton Mallory Peter Rosenfeld Joanna de Keyser Joanne Manuel Michael Rudiakow Henri Demarquette Annabelle Hoffman Robert Martin Toby Saks Andrés Díaz Gary Hoffman Anne Martindale Brent Samuel Burton Dines Henri Honegger Michael Mathews Sara Sant’Ambrogio Steven Doane Janet Horvath Donald McCall Kari Jane Docter Jay Humeston Charles McCracken George Saslow Camilla Doppman Thomas Igloi Melissa Meell Adam Satinsky Zon Eastes Ko Iwasaki Thomas Metzger Peter Schenkman Timothy Eddy Andrew Janss Alain Meunier Mischa Schneider Eugene Eicher Käthe Jarka Robert Miller Angela Schwartz Amir Eldan Verna Jarnot Theodore Mook Astrid Schween André Emelianoff Dane Johansen Peter Myers Peter Seidenberg Jules Eskin Claus Kanngiesser Matthias Naegele Gertrude Seifman Georg Faust Jonathan Karoly George Neikrug Judith Serkin Mileva Fialova Mickey Katz Clancy Newman Sophie Shao Rafael Figueroa Paul Katz Hai-Ye Ni John Sharp Rocco Filippini Yumi Kendall Michael Nicolas Richard Sher David Finckel Yeesun Kim Joel Noyes Paula Skolnick George Finckel Katinka Kleijn Lawrence Oncley Clarke Slater Ilya Finkelshteyn Michal Korman Margaret Ostin Brinton Smith James Kreger Carol Ou Gayle Smith Madeline Foley Joel Krosnick Karen Ouzounian Lloyd Smith Pamela Frame Sumire Kudo Siegfried Palm Wilhelmina Smith Barbara Fryer Toshio Kuronuma Angela Park Jeffrey Solow Hélène Gagné Lisa Lancaster Leslie Parnas Raphael Sommer Alexis Pia Gerlach Jennifer Langham Amit Peled David Soyer Rudolf Gleissner Wendy Law Miklòs Perènyi Brook Speltz John Goberman Angela Lee Albert Petillo Jonathan Spitz Ann Goodman Chui-Yee Lee Zvi Plesser Evalyn Steinbock Johannes Goritzki Daniel Lee Jean-Guihen Queyras Frances Steiner Michael Grebanier Earl Lee Fred Raimi Markus Stocker Clive Greensmith Nina Maria Lee Raman Ramakrishnan Francesco Strano Leo Grinhauz Priscilla Lee Kari-Lise Ravnan Peter Stumpf Jerry Grossman Ronald Leonard Dorothy Reichenberger Wendy Sutter Michael Haber Laurence Lesser Gabor Rejto Robert Sylvester Arthur Lessing Peter Rejto Nobuko Takeuti Bonnie Hampton Amy Levine Michael Reynolds Mark Tanner Julia Lichten Robert Ripley Margo Tatgenhorst Jirí Hanousek Katja Linfield Gustav Rivinius Karen Thimann Lynn Harrell Ronald Lipscomb Sharon Robinson Sæunn Thorsteinsdottir Marie-Elisabeth Hecker Yo-Yo Ma William De Rosa Paul Tobias Benar Heifetz Stefan Machlup Judith Rosen

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85316_Watkins.indd 48 6/23/11 9:49 AM p (left) , Myron Bloom; (right) Robert Routch, Julius Levine, Sol Schoenbach

Shirley Trepel Ju-Fang Liu Bill Matthews Bart Feller Bion Tsang Peter Lloyd Emanuele Segre Emi Ferguson Yuan Tung Salvatore Macchia Brook Ferguson Nicholas Tzavaras Marc Marder David Starobin Schoenwald David Vanderkooi Susan Matthew Nicholas Fiore Jan Vogler Jeremy McCoy Mandolin Lois Friedlander Wendy Warner Edgar Meyer Jacob Glick Jillian Frisch Paul Watkins Kurt Muroki Peter Press Katharine Frost Sallie Wemott Orin O’Brien Georgetta Gatto Paul Wiancko Shelley Saxon Lute Dejan Gavric´ Peter Wiley Neil Stannard Stanley Charkey Laura Gilbert Nicolas Tsolainos Edward Flower Bernard Goldberg Wei Yu Elizabeth Turner Chris Williams Caroline Grimes Matthew Zalkind Barbara Wilson Ornulf Gulbransen Sofia Zappi Guillermo Xucla Accordion Viviana Guzmán Hillel Zori Jacqueline Hofto Ann Harnsberger Harp Margie Lee Johnson Double Bass Carol Baum Flute/ Harold Jones Edward Arian Georganne Cassat Robert Aitken Francine Jupp Jeffrey Beecher Carol Crosby Patricia Albinson Kay Kennedy Raymond Benner Margarita Csonka Edith Anthony Jean Kershaw Gino Biondo Marcella DeCray Ellen Marie Arrigo Chang-Kook Kim Alan Birnbaum Deborah Fleisher Aram Bedrossian Toshiko Kohno Steve Brewster Alice Giles Jacob Berg Karl Kraber William Burns Elizabeth Hainen Julia Bogorad Renée Krimsier Joseph Carver Suzanne Handel Amy Borman Zara Lawler James Clute Ann Hobson Paul Boyer Eleanor Lawrence Timothy Cobb Yolanda Kondonassis Annabelle Caner Jean-Maurice Ledoux Zachary Cohen Marcela Kozikova Vincent Cavalli Carol Lee Marji Danilow Heidi Lehwalder Kathleen Chastain Barbara Leibundguth Carolyn Davis Karen Lindquist Valérie Tessa Chermiset Judith Ann Lyons Nathan Farrington Sivan Magen Jasmine Choi Mary Macomber Tony Flynt Jude Mollenhauer Ira Clark Marilyn Martin Walter Freimanis Nanette Norton Patricia Cobb Natalie Martin Robert Goodlett Janet Putnam Joseph Cohen (Josef Cobert) Nicole Martin Donald Hermanns Rita Tursi Mardele Combs Peter Martin Samuel Hollingsworth Frances Cohen Woodhams Joan Cornell Demarre McGill Julius Ilku Moya Wright Wayne Crebo Judith Mendenhall Robert Kesselman Elyse Yockey Nancy Dalley Patricia Miller George Koukly Naoko Yoshino Soichi Minegishi Gail Kruvand Eve Dickens William Montgomery John Kulowitch Guitar Joanne Dickinson Gretchen Moore Owen Lee Javier Calderon Rose Marie Dinner Susan Morris Julius Levine Fred Hand Paul Dunkel Louis Moyse Bernard Lieberman Fredric J. Lehrman Tanya Dusevic Marcel Moyse

49

85316_Watkins.indd 49 6/23/11 9:49 AM p Paula Robison, Felix Galimir, Richard Stoltzman, Murray Perahia, and Pierrot Lunaire Ronald Leonard rehearsing

Christine Nield Carole Wang Patricia Grignet Harry Sargous Alex Ogle Marjorie Wiener Fred Gruenebaum Earl Schuster Martin Orenstein Carol Wincenc Georges Louis Haas Louise Scribner Phyllis Parker Barbara Worthley Michael Henoch Harry Shulman Michael Parloff Ruth Wurster Wright Stevens Hewitt Jacques Simard Barbara Peterson Richard Wyszynski Nathan Hughes James Austin Smith Marina Piccinini Jane Young Robbie Lynn Hunsinger Rheta Smith Gertrude Pinion Laurel Zucker Scott Janusch Elizabeth (Betsy) Starr Catherine Ransom Alex Klein Raymond Still Christine Reed Oboe/Oboe d’amore Jan Knight Daniel Stolper Odile Renault Hassan Anderson Jennifer Kuhns Laila Storch Darlene Rhodus Leonard Arner Charles Kuskin Linda Strommen Paula Robison Robert Atherholt Winnie Lai Seizo Suzuki Rhoda Ross Theodore Baskin Mary Lynch Laurence Thorstenberg Susan Rotholz William Bennett Joseph Turner Judith Schenkman Melvin Berman Janet Mascaro Stephen Vise Dóra Seres Jeannette Bittar Sharon Meekins Allan Vogel Marguerite Serkin Neil Black Bruill Moore Rudolph Vrbsky Nan Sharp Lon Bussell DeVere Moore Robert Walters Renée Siebert James Caldwell Katherine Needleman Lois Wann Felix Skowronek Peter Christ Eric Olson Randall Wolfgang Christina Smith Roger Cole Jaren Philleo Richard Woodhams Joshua Smith Randall Cook Leslie Poindexter Marilyn Zupnik Mercedes Smith Dianne Copelon Wayne Rapier Yoobin Son Cynthia Koledo DeAlmeida Deborah Reich English Horn Carol Spiegel Humphrey Vas Dias Mildred Remis Janet Rarick Susan Stewart Matthew Dine Gerard Reuter Margaret Strum Elaine Douvas Ronald Richards Clarinet Lance Suzuki John Ferrillo Joseph Robinson John Adams Barbara Todd Alfred Genovese Samuel Robinson Pascal Archer Erich Toeplitz Ariana Nella Ghez Ronald Roseman Laura Ardan Dorothy Turnipseed Kathleen Golding Michael Rosenberg Sarah Beaty Ann A. Unterecker Ann Greenawalt Louis Rosenblatt Igor Begelman Marge Veleta Kathryn Greenbank Frank Rosenwein David Bellman

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85316_Watkins.indd 50 6/23/11 9:49 AM Stuart Best Shannon Scott Daniel Matsukawa Daniel Grabois John Van Bockern Jerome Simas Stephen Maxym Robin Graham David Singer David McGill Tully Hall Carmine Campione Ethan Sloane Christopher Millard Jane Lehman Han Jerry Chae Alan Solomon Jennifer Monroe Xiao-Ming Han Ronald Chandler Jo-Ann Sternberg Kenneth Moore Ron Hilbuch Susan Cogan Don Stewart Robert Moore Thomas Holden Franklin Cohen Richard Stoltzman Frank Morelli Paul Ingraham Larry Combs Virginia Stroh Kenneth Munday Benjamin Jaber James Corwin Erin Svoboda Shinyee Na Michael Johns Andrew Crisanti Theresa Tunnicliff Ryohei Nakagawa Tibi Cziger Joaquin Valdepeñas Isabelle Plaster David Jolley Emery Davis Richard Waller Stefanie Przybylska Chris Komer Romie de Guise-Langlois Michael Webster Richard Ranti Gabriel Kovach Ronald Dennis Nancy Wenk Mordechai Rechtman Paul LaFollette III Eli Eban Jörg Widmann Tristan Rennie Julie Landsman Frank Ell Harold Wright Patricia Rogers Ib Lanzky-Otto Margaret Ewing William Wrzesien Sidney Rosenberg Jane Lowenstein Alexander Fiterstein Bernard Yannotta Matthew Ruggiero Judith Mackey Anthony Fulginiti John Bruce Yeh Daniel Sagarman Richard Mackey John Fullam Ron Chen-Zion Peter Schoenbach Arnold Mascaro John Genovese Sol Schoenbach Thomas McAninch Robert Genovese William Scribner Bruce McLellan Yehuda Gilad Basset Horn Ryan Simmons Jennifer Montone Janet Greene Timothy Carter Roland Small Marie-Luise Neunecker Chen Halevi Jane Hamborsky Jane Taylor Barbara Oldham Richard Hawley Mark Timmerman Karl Pituch William Hilferty Saxophone Muneo Tozawa Ralph Pottle Cheryl Hill Eliot Gattegno Milan Turkovic´ Patrick Pridemore William Huntington Lynn Klock Natalya Rose Vrbsky Samuel Ramsey Brian Hysong Harvey Pittel Kim Walker Michelle Reed Steven Jackson William Winstead Meir Rimon Fred Jacobowitz Sigurd Rascher Thomas Woodhams Stewart Rose Fred Alston Donald Rosenberg Mark Karlin Contrabassoon Lloyd Rosevear Moran Katz Bassoon Donald Bravo Robert Routch John Koljonen Eric Arbiter Donald MacCourt Susan Sabin David Krakauer Jane Cardwell Stephen Young Stephen Seiffert Jack Kreiselman Anthony Checchia John Serkin William Kushner Isabelle Clore Horn John David Smith Alicia Lee Lynette Diers Cohen David Allan Richard Solis Richard Lesser Gerald Corey Carol Bacon Rachel Velvikis Rachel Davis John Barrows Radovan Vlatkovic´ Elsa Ludewig Steven Dibner Jill Bartels Martin Webster Ana Victoria Luperi Vincent Ellin Kendall Betts Shirley Ann Weekley John Lynes Thomas Elliott Myron Bloom David Wetherill Charles MacLeod Joel Feinglass Robert Bonnevie Anthony McGill Michael Finn Arthur Brooks Trumpet Carol McGonnell Martin Garcia E. Scott Brubaker Jason Adams Daniel McKelway Bernard Garfield Janet Cardwell Carl Albach Donald Montanaro Nancy Goeres José Vicente Castelló Ronald K. Anderson Charles Neidich Marc Goldberg Earl Chapin Brian Benson Stewart Newbold Clelia Goldings Christine Chapman Donald Bernstein Orit Orbach George Goslee Wei-Ping Chou Howard M. Birnbaum Sean Osborn Arthur Grossman David Cooper Mary Bowden Todd Darren Palmer Alexander Heller Angela Cordell Glenn Bowling Thomas Peterson Charles Holdeman Daniel Cowan Phyllis Cannatta Richard Pickar Benjamin Kamins Hazel Dean Davis Allen Dean Vito Platamone Matthew Karr Sarah Dussing Wayne J. du Maine Gregory Raden Joyce Kelley Christopher Earnest Christian Ferrari Kenneth Radnofsky Nicholas Kilburn Victoria Eisen Richard San Filippo Albert Regni Sylvia Deutscher Kushner Horace Fitzpatrick John Glasel Paul Riesman Ursula Leveaux Robert Fries Raphael Glaser Michael Rusinek Donald MacCourt Ralph Froelich Martin Goldbaum Charles Russo Valentin Martchev Martha Glaze Judith Higgins

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85316_Watkins.indd 51 6/23/11 9:49 AM Charles Hois William Tesson James Barbato William Ferguson Fred Holmgren Scott Thornburgh Miriam Barndt Marthe Forget Boyde Hood David Titcomb Devy Barnett Maureen Forrester David Jandorf Ray Turner Jenneke Barton D’Anna Fortunato Paul Jeffrey Joseph Williams Inci Basarir Joseph Frank Gilbert Johnson Chad Freeburg Larry Knopp Tuba Herbert Beattie Richard Frisch Joseph Koplin Edmond Moore Karol Bennett Richard Fulton David Krauss Lewis Waldeck Robert Galbraith Eugene Kuntz Joan Bishop Jeremy Galyon Stuart Laughton Timpani and Percussion Lawrence Bogue Nancy Gambuzza Albert Ligotti Michael Bakan Martha Bonta Lillian Garabedian Rodney Mack Everett Beale Kathryn Bouleyn Lin Garber Rob Roy McGregor Allen Beard Désirée Brodka Marion Gedney Fred Mills Robert Becker Garnet Brooks Mary Westbrook-Geha Hugo Moreno Joseph Beiro Patricia Brooks June Bonner Genovese Robert Nagel Paul Berns Cyril Brosnan Phyllis Gieseler Henry Nowak Charles Birch Richard Brothers Gary Glaze Louis Opalesky Michael Bookspan Dorothea Brown André Solomon-Glover Frank Ostrowski Frederick Buda Janet Brown Lillian Goldstein Nedo Pandolfi David L. Buttolph Jenny Hayden Brown Juliana Gondek Joseph Reardon William Cahn Jules Bruyere Otoniel Gonzaga Marc Reese Kalman Cherry Emily Bullock Lorie Gratis Bruce Revesz Nicholas D’Amico Gary Burgess Tony Griffey Stanley Rosenzwieg Ron Delp Mary Burgess Katherine Griffith Kenneth Schermerhorn Gordon Emerson Henry Burroughs Victoria Grof Alan Silverman Robin Engelman Kathleen Callahan Leslie Guinn James Simpson Norman Fickett Jennifer Johnson Cano Carola Günther Norman Smith Joseph Gramley Carol Carcieri Frank van Halsema William Super John Grimes Carl Halvorson Scott Thornburg Neil Grover Philippe Castagner Barry Hanner James Tinsley Lee Gurst Marie Chavannes Theodora Hanslowe Jack Urban William Hanley John Cheek Jason Hardy Robert Watson Russell Hartenberger Lawrence Chelsi Mary Ann Hart Carleton Whelchel Martha Hitchins Seungwon Choi Virgil Hartinger Donald Whittaker Matthew Hopkins Katherine Ciesinski Marty Hatch Alex Wilson Ruth Jeanne Jesse Clark Robert Hawthorne Wilmer Wise Jurij Konje David Clatworthy Karen Louise Hendricks Jeffrey Work Morris Lang Shirley Close Francis Hester David Mancini C. Evans Clough Patricia Hetkin Trombone Lloyd McCausland Philip Cohen Joseph Himmel Darren J. Acosta Joseph Morrow Dorothy Cole Lorraine Hinds Norman Bernstein Andrew Power Donald Collup Jennifer Hines Keith Brown James Priess Wayne Conner Grayson Hirst Douglas Edelman Linda Raymond Sasha Cooke Diana Hoagland Thomas Elliott Leonard Schulman Caprice Corona Beverly Hoch John Faieta Ellis Seamon Jesse Coston Linda Hohenfeld Paul Gay Stephen Silverman Herbert Coursey Jane Holcomb Benjamin Herrington Joel Thome Charles Crook Gregory Hopkins Donald Hunsberger Luanne Warner Karen Crowley Stephanie Houtzeel John Kelly Don Williams Corinne Curry Anna Julia Hoyt Arthur Kerr Anne Dawson Jon Humphrey Fred Linge Danielle de Niese Kate Hurney Lee Margulies Voice Sylvia Debenport Olga Iglesias Byron McCullough Antonio Abate Iona Delman Angela Ingalls John Mellick Raoul Abdul Charlotte Dobbs Glendower Jones Robert Moir Raymond Aceto Yvonne Douthat Eleanor Kelley James Myrick Jane Adler Carol Driggs Frank Kelley John Nickel Raquel Adonaylo Kiera Duffy Gary Kendall Benjamin Peck John Aler Martha Elliott John Kerr George Powers Betty Allen Arthur Espiritu Patricia Kirby Kerr Allen Raph Carol Ann Allred Mark Evans James King Richard Rodda Theodore Paul Anderson David Evitts Jasper King Ralph Sauer Christine Antenbring Thomas Faracco Marlene Kleinman John Swallow Meredith Arwady Constance Fee Elizabeth Ann Koch

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85316_Watkins.indd 52 6/23/11 9:49 AM p (left) Misha Amory, Bruno Canino; (right) Luis Batlle, Jon Humphrey, Chui-Yee Lee

Ilona Kombrink Don Nelson David Rice Sondra Stowe Florence Kopleff Mary Nessinger Jennie Riesman Vincent Dion Stringer Walter Koppelman Daisy Newman Jonathan Rigg Ellen Stuart Kim Kostenbader Adelle Nicholson Michael Riley Shirley Sudock Arisa Kusumi Katja Nicolai Rebecca Ringle Karim Sulayman Rosa Lamoreaux Eva Nir Patrick Romano Sanford Sylvan John La Pierre Christòpheren Nomura Joslin Romphf Michael Sylvester Timothy Lefebvre Naomi O’Connell Paul Rowe Ann Tatnall LeRoy Lehr Fenna Ograjensek Laurie Rubin Micheline Tessier Thomas Lewy James Oleson Kyoko Saito Russell Thomas Suzanne Linden Kathleen Orr Robert Sapolsky Gene Tucker Michael Lockley Carol Page Randall Scarlata James Tyeska Shirley Love Harold Parker Kathy Schuman Frederick Urrey John Lundsten Elizabeth Patrick Sarah Shafer Benita Valente Linda Mabbs Thomas Paul Elizabeth Shammash Milagro Vargas Marcella Mace Steffanie Pearce William Sharp Claudia Visca Jazmina MacNeil Alexander Perkins Kenneth Shelton Eleanor Waddell John Magnuson Janet Perry Lucy Shelton James Wainer David Malis Charlene Peterson Jerold Siena Margaretha Walk Maria Martell Robert Peterson Mary Simmons Junko Watanabe Grace-Lynn Martin Susan Peterson Marietta Simpson Nathaniel Webster James Martin Lyubov Petrova Carol Werner Marvis Martin Nicholas Phan Heidi Skok Kimball Wheeler Tamara Matthews Ellen Phillips Lauren Skuce John Paul White Glenda Maurice Mary Phillips David Smith John Wiseman Charles Mays, Jr. Susanna Phillips Janet Smith Ula Wolfe Seth McCoy Robert Phipps Jennifer Smith Marvin Worden David McFerrin Neva Pilgrim Karen Smith William Workman Kevin McMillan Daniel Pincus Francesco Sorianello Gloria Wynder Thomas Meglioranza Anne Polen Benjamin Sosland Lei Xu Joan Mey Margaret Poyner Barbara Spangler William Yeats Janice Meyerson Glenn Priest Steven Paul Spears Hyunah Yu John Moore Elizabeth Pruett Margaret Stanback Beverly Morgan Thomas Pyle Patricia Stasis Visiting and Resident Constantine Moskalenko Ruth Ray Herb Steiner Composers Tamara Mumford Isaac Reid Joshua Stewart John Adams Nan Nall Georgine Resick Katherine Stone Thomas Adès

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85316_Watkins.indd 53 6/29/11 4:01 PM David Amram Fred Lerdahl Beethoven Choral Repertoire & Research Fantasy Conductors Coordinator George Benjamin Philip Maneval Pablo Casals Frederick Dorian Harold Boatrite Tigran Mansurian Felix Galimir Marc Neikrug Tõnu Kalam String Repertoire Elliott Carter Leon Kirchner Mischa Schneider Paul Chihara Jaime Laredo James Primosch Seymour Lipkin Wind Repertoire Samuel Rhodes Peter Oundjian Marcel Moyse Robert Cuckson Michael Riesman Alexander Schneider Rudolph Vrbsky Sebastian Currier Peter Serkin Luigi Dallapiccola Richard St. Clair Vocal Repertoire Marc-André Dalbavie Ignat Solzhenitsyn Raquel Adonaylo Rhys Scott Lydia Brown David Del Tredici Roger Sessions Special Contemporary Ernst Haefliger Hsueh-Yung Shen Works Gregory Hayes Seymour Shifrin Martin Isepp Robert Starer Leon Kirchner Caren Levine Osvaldo Golijov Tison Street Robert Merfeld John Harbison Ivan Tcherepnin Opera Workshop Ken Noda Alexander Heller Henry Weinberg Richard Aslanian Irene Spiegelman David Horne Carl Bamberger Benita Valente Melissa Hui Jörg Widmann Jack Benjamin Jeffrey Jones William Winstead William Hughes Translations/Archives Tõnu Kalam Martha Masséna Philipp Naegele Earl Kim Bach Concert Philipp Naegele Leon Kirchner Blanche Honegger Moyse Martial Singher Barbara Kolb Michel Singher György Kurtág Bach Sessions Edwin Stahl Jaakko Kuusisto Anner Bylsma Felix Wolfes Christopher Lantz

q Philipp Naegele, Felix Galimir

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85316_Watkins.indd 54 6/23/11 9:49 AM Co-administrators Anthony Checchia and Frank Salomon, who have played a vital leadership role at Marlboro for many decades, and whose partnership, sense of generosity, passion for music, and caring for musicians sets an inspired example for the entire Marlboro Music community.

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85316_Watkins.indd 55 6/23/11 9:49 AM creDits

Conception & Editor: Frank Salomon Associate Editor: Ben Davis Special thanks to Philip Maneval, Don Snyder, Jenna Edwards, and Jacob Smith Designer: Ming-Fang Hsieh/The-M Photographers: Pete Checchia: 11 (bottom), 25 (top right), 26, 28, 29, 30, 31 (top and bottom left), 55; Allen Cohen: 24; George Dimock: 14, 27 (bottom), 44, 48 (left); Edward Hamilton: 11 (top), 20 (bottom), 38; George Harris: 10; Clemens Kalischer: 4, 5, 6 (bottom), 7, 13 (top), 17, 18 (bottom), 19, 21, 23 (bottom left), 25 (top right and bottom), 31 (bottom right), 35, 36, 37 (bottom), 45, 46 (left), 47 (right), 48 (right), 53, 54; Woodrow Leung: 12, 15, 23 (top right and bottom right), 49 (right); J.M. Snyder: 13 (bottom), 27 (top), 37 (top), 43, 57; Regina Touhey: 46 (right) 56

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