In the 10 summers I spent in southern Vermont learning repertoire and cross-pollinating with other musicians, Marlboro served as a giant laboratory for us. Where else could we come together for as long as needed to study a work in depth? The purity and value of Adolf Busch’s idea attracted people from all over.
In 1959, my first summer at Marlboro, one of its founding members, the flutist Marcel Moyse, pointed to a marking in my viola part of the Debussy Harp Trio and instructed me to ignore it. When I looked up at him questioningly, he said, “Debussy told me that he changed his mind about the marking.” As a 22-year old musician, this was a breathtaking moment for me.
