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12 planting musical traDitiOns Marlboro Music’s founders and their colleagues brought with them from Europe the concept that chamber music is invaluable in becoming a sensitive and compelling musician, and shared this with generations of young American musicians. Chamber music, they felt, teaches one to learn the full p Alexander Schneider, Rudolf Serkin in VermOnt sOil score, not just one’s part; to listen; to compromise; to be supportive of one’s colleagues—invaluable life as well as musical lessons. Serving the composer, rather than the performer, remains at the heart of the Marlboro experience. 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 Spain by creating the Casals Festival in Prades, he helped to bring Casals to Marlboro.
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 Vienna, had worked with Berg and other important figures. In fact, Ravel was at their recording session of his quartet in Paris. 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, Isidore Cohen “[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 13
Page 1: MARLBORO MUSIC 60th AnniversAry ref
Page 4 and 5: Audience outside Dining Hall, 1950s
Page 6 and 7: p Marlboro’s founders: Marcel Moy
Page 8 and 9: In August, 1957, Jaime Laredo and I
Page 10 and 11: Rudolf Serkin promised us time the
Page 14 and 15: Growing up in Marlboro in the 60s,
Page 16 and 17: 16 reFlectiOns FrOm an auDience mem
Page 18 and 19: At Marlboro, exceptional young prof
Page 20 and 21: For more than a decade, beginning i
Page 22 and 23: Twenty years ago, we paid tribute t
Page 24 and 25: For those who have followed Marlbor
Page 26: It often seems that the most inspir
Page 29 and 30: t Benjamin Beilman, Jonathan Biss,
Page 31 and 32: p (top) Scott St. John takes childr
Page 33 and 34: After supper on day two, I join a g
Page 36 and 37: Over the last six decades, recordin
Page 38 and 39: There is an ancient apple tree at t
Page 40 and 41: Piano Rieko Aizawa Lydia Artymiw Ne
Page 42 and 43: Piano Philip Aaberg Elena Abend Pie
Page 44 and 45: Stephanie Chase Leland Chen Robert
Page 46 and 47: p (left) Sarah Dussing, Anthony McG
Page 48 and 49: p (left) Yuzuko Horigome, David Soy
Page 50 and 51: p Paula Robison, Felix Galimir, Ric
Page 52 and 53: Charles Hois Fred Holmgren Boyde Ho
Page 54 and 55: David Amram Samuel Barber George Be
Page 56: creDits Conception & Editor: Frank

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