Marlboro Music 60th Anniversary Season Opening Programs Announced, with other news and an update to our retrospective “Marlboro at 60″


Persons Auditorium at Marlboro. Photo © 2010 Michael Miller.

Marlboro Weekly Concert Programs

Download a Printable Copy of the Programs
Purchase Available Tickets to these Concerts

Marlboro at 60, by Michael Miller

Saturday, July 16, 8.30 pm

Schumann - String Quartet in F Major, Op. 41, No. 2
Michelle Ross, violin
Ida Levin, violin
Michael Tree, viola
Paul Wiancko, cello

Spohr - Octet in E Major, Op. 32
Charles Neidich, clarinet
Benjamin Jaber, horn
David Cooper, horn
Bella Hristova, violin
Mark Holloway, viola
Hanna Lee, viola
Paul Wiancko, cello
Tony Flynt, double bass

=Intermission=

Brahms - Piano Trio in B Major, Op. 8
Richard Goode, piano
David McCarroll, violin
Andrew Janss, cello

Sunday, July 17, 2.30 pm

Brahms - Zwei Gesänge, Op. 91
Jennifer Johnson Cano, mezzo-soprano
Hélène Clément, viola
Mitsuko Uchida, piano

Shostakovich - Piano Trio in E Minor, Op. 67
Bruno Canino, piano
Ying Fu, violin
Matt Zalkind, cello

=INTERMISSION=

Zemlinsky - Maiblumen blühten überall
Susanna Phillips, soprano
Nikki Chooi, violin
Danbi Um, violin
Hélène Clément, viola
Sally Chisholm, viola
Angela Park, cello
Andrew Janss, cello

Mendelssohn - String Quintet in A Major, Op. 18
Bella Hristova, violin
Nikki Chooi, violin
Hélène Clément, viola
Vicki Powell, viola
Peter Wiley, cello

Marlboro Music—once again—is celebrating its 60th anniversary, which I have already celebrated in an extensive retrospective article last year. The revered summer music school and festival has a peculiar double anniversary, because its inaugural year was very small indeed, and rather precarious. In the second year, everything was more organized, both in scheduling and financially, and the cherished summer event took off, to become what it is today—which, miraculously, is not terribly different from what it was sixty years ago. It is larger and more professionalized, but it still retains its original feeling of intimacy. The younger participants—they are not called students—still have the same extensive rehearsal time with their mentors. And the public can still look forward to concerts of the highest quality, in which seasoned masters and their less-experienced colleagues make splendid music together.

Read the full report on the Berkshire Review, an International journal for the Arts!







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