Friday
After the fourth main concert of the Manchester Music Festival (MMF) in Vermont, I wake up with a sense of relief and accomplishment. This is my first festival as Artistic Director, and it’s been a challenging yet rewarding journey with a steep learning curve. The concerts are unfolding beautifully, with good attendance and an enthusiastic audience.
Last night was particularly special, as my old friend Nancy Allen, principal harpist of the New York Philharmonic, joined me and our talented Young Artists in a captivating programme that included Debussy, Elgar, a world premiere of a new work by Sarah Kirkland Snider for harp and strings, and a piece I wrote called Elegy for Violin and Harp.
Today is a day for relaxation and rest, a chance to recharge for the final week of the festival. My wife, Linda, returned to Manchester yesterday, making today even more enjoyable
and relaxing.
Saturday
Today is dedicated to practising my violin parts for the final week of the festival and coaching the Young Artists in their repertoire for their third concert tomorrow. We are fortunate to have 10 extraordinary musicians, aged between 18 and 26, who are fully funded by generous sponsors from the Manchester community.
Later this evening, I take part in a panel discussion centred around the festival’s theme: “The Romantic Journey”. I am joined by esteemed colleagues, including Judith Lochhead from Stony Brook University, and Gail Newman and Sonja Wermager from the faculty of nearby Williams College. Following the panel discussion, I have a lovely dinner with my wife.
Sunday
I spend the morning practising and later listen to the Young Artists’ rehearsals and concert. The programme features music by Shostakovich (which I perform in as well), Frank Bridge, Prokofiev and Fauré. I am particularly pleased with how the Young Artists perform, as they have been integrated into the main concerts and educational events throughout the summer, a decision that has been very well received by the audience. The day ends with a joyful celebration as the Young Artists show up at our rental house with sweet goodies and Prosecco.
Monday
Today feels particularly challenging; not only is it the last day to prepare my violin parts for the final concert, but we also have a crucial meeting with the Program Advisory Committee for next summer’s festival. Balancing the present festival with planning for next year is a skill I’m still mastering. Despite these challenges, the day ends with a heartwarming video meet-up with our daughter Katia, her husband Tim, and our one-year-old granddaughter, Ava.
Tuesday
Another day filled with the joy of music-making as we hold rehearsals for the final concert of the festival. One of the best parts of my job is the opportunity to invite friends to come and make music with you. For the Grand Finale, I have the pleasure of inviting talented musicians such as pianist Gilles Vonsattel, Met Opera violinist Sarah Crocker, violist and fellow faculty member at Stony Brook, Matthew Lipman, and the Calidore String Quartet cellist Estelle Choi. And to top it all off, the great soprano Christine Goerke, who starred as Brünnhilde in the Met’s most recent production of Wagner’s Ring Cycle. The day is a perfect balance of music-making, laughter, and bonhomie.
Wednesday
This morning’s rehearsals are particularly exciting, as the Young Artists join us for Barber’s Adagio for Strings and two of Dvořák’s Slavonic Dances for piano duet. The dress rehearsal in the evening, open to the public, is a great opportunity to run through the programme. Everyone is eager and excited about the upcoming concert, and the anticipation is building. Later, friends from New York and Boston visit, and we visit the Northshire Book Store, finding great books for our granddaughter.
Thursday
The final concert day arrives with a mix of excitement and anticipation. The morning is spent in relaxed rehearsals, as we want to conserve our energies for this evening’s performance. We just have to do a few last-minute checks, such as lighting and sound levels for the video recording, practise some tricky spots, and try to figure out how to get rid of the very noisy cricket who loves to sing along with us each evening.
The programme is especially interesting as it’s designed as a kind of mirror, reflecting a range of emotions and themes. It begins with the charm of Dvořák’s Slavonic Dances, moves through the sense of longing in Brahms’ songs, and reaches the tragedy of Respighi’s Il Tramonto (The Sunset). After the intermission, we continue with the elegiac sorrow of Barber’s Adagio and end with the joy and exuberance of Dvořák’s Piano Quintet. The concert is a glorious experience, and the audience’s reaction is overwhelming. I feel exhausted, but also very happy and proud.