Reflections from Covington, Jr. and O'Briant

Howard E. Covington, Jr.

Howard E. Covington Jr. was EMF board chair from 1991-1992. He is a well-known author who has written over a dozen historical books on Greensboro and North Carolina companies, and he was the editor of  Spectator Magazine.

I don’t recall the year this happened, probably 1991 or 1992, and I had been involved with EMF for several years. Through my activity as a volunteer, I knew the basics of this remarkable summer program – talented young musicians coupling with energized professionals in a union that produced a summer-long calendar of great music to be enjoyed in a variety of venues. The real essence of the experience became fully apparent one evening when my wife, Gloria, and I discovered that the back of our minivan was just as good a place to hear talented musicians as our seats at Dana Auditorium.

It happened this way. Old friends stopped in to visit us at the start of the EMF season to let us know that they just deposited their daughter, a flutist, at Guilford College for her first summer at EMF. A few weeks later, we were loading her and five of her new musician friends into the car for the ride downtown to enjoy the Fourth of July fireworks. On the way to the display, and throughout the half hour or so we stood and watched, the group was no different from any other collection of teenagers. Their connection could as easily have been soccer as music. It wasn’t until we headed back to Guilford College that the magic happened.

The traffic was heavy on Friendly Avenue, and as we waited for lights to change and allow our car to move along, one in the group started whistling the familiar Sousa march, “Stars and Stripes Forever.” One by one, the others joined in, contributing in a pitch and sound that mimicked the parts that Sousa had written for their individual instruments. (They all played wind instruments, and evidently knew the tune from their high school band experiences.) In an instant, Gloria and I were an audience of two for the most meaningful rendition of that old march that we had ever heard.

When someone asks us about EMF, and what it means to me, and to this community, that story is always a part of our answer. The students who come to EMF are among the most creative and talented young people in the world. It is our job, as volunteers, to make sure that there is a place for them to perfect their talent and to create music that provides so much pleasure for us all.

Our friends’ daughter didn’t end up in a career in music. She is a practicing physician in Boston, but I am sure that her life, and the lives of those around her, is enhanced by her musical experience. And EMF had a part in making that happen.

Linda O’Briant

Linda O’Briant has chaired the High Point Pops concerts and served on EMF’s board from 2000-2007. She has been a Doncaster wardrobe consultant for 25 years. Mrs. O’Briant and her family live in High Point, NC, and she “loves being involved!”

My first memory of Eastern Music Festival is that first summer, 50 years ago, when I was just a young girl riding my bike on the campus with my best friend and hearing music flowing from the windows of Dana, filling the air with beautiful melodies!! It was magical!! We would stop and just listen … .knowing it was the “music campers” as we called them.

The first High Point Pops concert was held at Market Square. Jake Froelich’s mother was celebrating a 90^th birthday. We had a violin student play “Happy Birthday” to her, and she never got over it; she was so touched and moved, as we all were! All of the Pops concerts were wonderful, well attended, and memorable, but the one that stands out the most is the time Rhapsody in Blue was played!! Absolutely, positively the BEST of all the rest.

Eastern Music Festival is a treasure that has enhanced the quality of life in the Triad all of these years. There is something for everyone! We need to dress up, show up, soak it up, and get involved to secure the future of this music for generations to come. Happy Birthday EMF – the BEST is yet to come…see you all there!!!

EMF Faculty Member Reflects...

Neal Cary

Neal Cary, currently principal cellist with the Eastern Festival Orchestra, has played at EMF every summer since 1984. He is principal cellist with the Richmond Symphony and is on the adjunct faculty at the College of William and Mary and Virginia Commonwealth University. He earned his M.M. at The Juilliard School, and his teachers included the world-renowned Leonard Rose.

One of my favorite memories from EMF dates from a summer in the 1980s when I was co-principal cellist with Diane Chaplin. Diane was a marvelous cellist with a very outgoing personality who always liked a good joke. Although we were friends, we were a little competitive and enjoyed playing light-hearted pranks on each other.

After a few weeks had passed, I finally found the perfect opportunity for one prank when I noticed that each week she had a new and wild nail color for her fingers and toes. The timing I chose for my prank was when she was scheduled to play principal in Shostakovich’ Symphony No. 1. As you may know, this symphony has many difficult cello solos and ends with a sad and quiet, extensive, and especially difficult cello solo.  

In the first rehearsal of the Shostakovich, I took special care to turn each page with my left hand. Since I was sitting on Diane's right side as her assistant that week, she couldn't see that the nails on my right hand looked absolutely ridiculous. (My friend Carol Havelka had painted the nails of my right hand all the different colors Diane had used that summer!) However, most of the rest of the orchestra could see it -- notably Lisa Johnson (later Lisa Sutton), who sat in the violin section opposite Diane. With each cello solo, quiet giggles and smiles traveled across the orchestra because everyone knew I had something up my sleeve. With each cello solo, Diane became a little less secure because she thought something was wrong -- first with her playing, and then with her clothes. All the while, Sheldon Morgenstern remained the total professional and just kept rehearsing.

  

Finally, when Diane was just about to begin playing the last big cello solo at the end, I very carefully and slowly adjusted the music to the left with my right hand. Diane let out something best described as a “horse laugh”!

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When I arrived at Eastern Music Festival in 1984, I heard many stories about things that happened in the past.  One story involved the president of the board locking the door in a board meeting until board members donated enough money to keep the festival going. [ed. note: it was E. R. Zane Jr.]

Back then, the workload was pretty light. Faculty coached chamber music twice a week, maybe taught one or two students each, and there were usually no extra orchestra concerts off the Guilford campus. Faculty chamber music was performed only once a week, so usually faculty would perform only one or no chamber works each summer. Instead, faculty would often gather until the wee hours of the morning, reading various chamber music works at informal parties.

Orchestra concerts were Saturdays, but the rehearsals for the next week didn't begin until Wednesday morning. Many faculty would leave for either the beach or the mountains Saturday night after the concert and return just in time for the 10:00 AM rehearsal on Wednesday.

One of my most pleasant memories was one of those trips. Lindsay Groves (cellist), Bob Anderson (bassist), and Lisa Johnson (violinist) invited me to Wrightsville Beach where I learned how to windsurf. On another weekend, I went hiking with Lindsay up Grandfather Mountain.

The extra free time we had back then meant that we had more time for practice, relaxation, and just to hang out and make friends. We stayed in Bryan Hall, which had connected balconies on each floor, and often faculty would get together to have cookouts on the balcony or would stay up late listening to music and talking. Bryan had a courtyard which was another gathering place for faculty. There were quite a few squirt gun and water balloon fights in the 80s.

One night, several of us threw our mattresses off the balcony and slept in the courtyard. I remember waking up to someone taking my picture.

Usually, John Feddersen (timpani) would string a badminton net across the Bryan courtyard late at night, hang lights on the balcony, and faculty would play until 1:00 or 2:00 in the morning. One night I made the mistake of playing too long and then had to struggle with a shaky bow for my performance of Appalachian Spring the next night. It was torture, but worth it!

The last Thursday late evening of the festival was always reserved for the "Graveyard" -- skits performed by the faculty for the faculty. These skits usually made light of funny things that happened over the summer and were funnier than the best skits one could find on “Saturday Night Live.” It's too bad that these performances were not videotaped!

Of course, Jeff Multer (now concertmaster) and Jennifer (Perk) Combs (cello) were always funny. I remember being invited to a ballet performance by Jennifer where she danced out of one room, twirled around as she went across the living room, and then into the next room where it sounded like hundreds of pots and pans came crashing to the floor.

I'll never forget the time Jeff spent an entire morning learning the Meditation from Thaïs just to give me a private performance of the piece after I had mentioned it was one of my most favorite pieces.

One summer, I remember marching across the lawn late at night with 20 other faculty members toward Milner (the student dorm) singing the soldiers’ song from The Wizard of Oz (Oh wee oh, ohweee - oh) and launching hundreds of bottle rockets in a mock attack. The students retaliated by playing a brass quintet concert at 5:00 AM the next morning in the Bryan courtyard.

EMF has come a long way since those carefree early days. Many of those early personalities on the faculty, on the board, and administrative staff -- people like Shelly Morgenstern, Leah Tannenbaum, Perk, and others too numerous to mention -- helped mold EMF into the world-class festival we have today. Today, we still know how to have fun, and I'm sure there will be plenty of memories in store for our future!

Mary G. Long

Ronald V. Long, Jr.

Mary G. Long

Mrs. Mary G. Long is the mother of Ronald V. Long Jr., a violin student at EMF from 2007 to 2009. Ron has performed at several special events in Greensboro, including performing at Shelly Morgenstern’s memorial service in Dana Auditorium. Mrs. Long is a stay-at-home mom and resides in Greensboro, NC.

I felt honored when my son’s violin teacher recommended that he apply for EMF (2007). I heard about the wonderful things this festival has done for children from all over the world for years but did not expect my son to be a part of a spectacular music festival. When my son auditioned, he asked me “Why am I so nervous?” and I responded and said, “You are nervous because you care about what you are doing; don’t be nervous.” To be honest, I was as nervous as he was, but of course I did not allow it to show. I further explained to him that “you have worked so hard for this opportunity, and whatever you do, don’t let your nerves distract your love for your instrument.”

When my son received his acceptance letter, I really could not believe it, but my son ran through the house like it was reality. He immediately darted to the computer and searched up all of the guest performers and faculty, and he continued to run through the house yelling how excited he was to learn from immense professionals. He was happier than a kid receiving his first Christmas present. My husband and I were amazed that he was accepted by the festival and realized that he may have some talent. I soon after thought about how he would keep up his laundry for 5 weeks in a joking way. Of course being a mother, I was happy and worried, “happy” that he was taking the right steps to increasing his violin talent but “worried” about it being his first time away from home. When arriving at his dorm, we were warmly greeted with open arms. My son felt at home, and so did I.

What really put the icing on the cake is when my husband and I attended his first symphony concert, not knowing what to expect. Taking my seat and seeing my son on the stage improved my realization of this whole experience. The performance of Mahler’s Symphony No. 1 was a cathartic experience. At that moment, my husband and I realized that our son was living his life the way he wanted and was serious about it -- more serious than he has ever been about anything. Eastern Music Festival was certainly the key to his love for music. It not only changed my life, but it changed my son’s life in an elevated way.

William R. Rogers' 50th Reflection

William R. Rogers, Ph.D.

William Rogers is president emeritus of Guilford College, having served as president from 1980 to 1996. He has remained involved with EMF, and his wife, Beverley, has served on the EMF board and several committees. An accomplished musician, artist, sculptor, and Quaker leader, Dr. Rogers resides in Greensboro, NC, and summers in Islesboro, ME.

The Eastern Music Festival and Guilford College

A Retrospective and Affirmation

This brief essay is intended as one in a series of reflections on the interesting history of the Eastern Music Festival as this organization celebrates its 50^th anniversary. This history is intimately tied to the people and the purposes of Guilford College, which has housed and encouraged the work of EMF through all these years.

The story really starts with the musical excellence and organizational vision of Sheldon Morgenstern (Shelly), who developed an early and passionate love of music, especially classical and to some extent jazz. He heard fine classical music in his early childhood in Cleveland, and he went on to study and play at Florida State and Northwestern universities. As a young musician he played the French horn in the Atlanta Symphony. But he quickly realized his particular fascination with the overall composition, phrasing, and interpretation of musical performances and their technical and emotional power, and he went on to study conducting at the New England Conservatory.

His specific inspiration was to learn how young musicians develop and to open their vision and aspiration for genuine excellence. He became familiar with the creative educational model at Interlochen in Michigan and worked for a time with the fine summer program at Brevard in the North Carolina mountains. But he yearned to develop a superior program that would attract some of the most talented musicians in the country, if not the world, as instructors – and some of the most promising young students – to refine and produce some truly exceptional music together in a supportive, not a competitive, artistic community.

In the summer of 1961, encouraged by friends in the Greensboro area, Shelly came to talk with Dr. Clyde Milner, president of Guilford College, about the possibility of using the Guilford campus as a setting for his dream of an Eastern Music Festival. The beauty, reputation, supportive climate, academic excellence and community commitments of this college and its Quaker roots were very attractive. Guilford, though it had a few other small programs in the summer, was glad to examine the possibility of a first rate educational and musical program that could benefit the entire community with exceptional concerts and open master classes while utilizing dormitory and dining facilities that were under-utilized in the summer.

Plus, 1961 was the year that Clyde Milner had persuaded Charles Dana to fund and begin construction on a striking new auditorium that would comfortably seat slightly over 1000 people. Little did Shelly and Clyde realize as they walked around the construction site in rain and mud one day that summer that this chapel/concert hall would have some of the very best acoustic properties of any building in the region – still an uncertain architectural challenge. The next summer as the professional orchestra as well as the student orchestras came into being, even the most refined pianissimo notes could be heard perfectly all the way to the back row of the balcony!

The first few years of EMF – indeed all the years – took enormous work. Shelly and his friends literally travelled the country following leads and seeking promising students. It took broad-ranging professional contacts to locate and persuade outstanding musicians to form the fledgling faculty and orchestra. It took patient and supportive staff to eat and talk with students, building extraordinary professional and personal relationships. It took supportive community friends and marketing to assure very appreciative audiences at chamber and orchestra concerts. And it took creative fund-raising.

But it worked. In 1962, 72 students came and most of them went on to achieve very noteworthy careers. Think for instance of Eliot Chapo from that year who at age 26 became the youngest concertmaster in the history of the New York Philharmonic.

When Dr. Grimsley Hobbs succeeded Clyde Milner as president of Guilford in 1965, the support of EMF continued and broadened. This was in spite of the somewhat humorous tension between Grimsley’s support of a Scottish bagpipe summer school and the needs of the classical musicians. The bagpipe school did not last.

In 1980 I came from Harvard to Guilford, attracted by both the Quaker roots and the educational quality, including the outreach in art and music. Imagine our delight within a few weeks of our arrival in July when friends from Cambridge called to see how we were adjusting, and we could take the phone to our patio outside the President’s House and let them hear Leonard Rose preparing beautifully for a concert!

I had a long personal history of enjoyment in choral and instrumental music, having sung in Bach festivals, madrigal groups, opera choruses, and especially in the Tanglewood Festival and Boston Symphony choruses. I admired every phase of EMF. It pleased me very much when Shelly and I explored the possibility of inaugurating and endowing a Guilford String Quartet to support both EMF and the college’s educational and community service mission. In 1984, EMF developed an International Scholarship Program and continued a pattern like that of Guilford in seeing incredible talent and friendships thrive from global and cross cultural relationships. The outstanding character of musicianship and the personal student and faculty relationships continue to be supported in an excellent way by Gerard Schwarz.

In short, the relationship between EMF and Guilford College has been a great blessing to both. I am grateful for the hard work and the sacrifices that were made by many staff members and donors to help this colleagueship thrive and keep both parties strong. Among the many who helped, I want to single out for thanks Jim Newlin who so quietly and diligently worked from the inside with both Shelly and me to see that knotty administrative and financial issues were carefully addressed over many years.

Here’s to the sheer exhilarating joy that comes from the outstanding music of the EMF concerts! And here’s to the passionate commitment and lasting professional friendships that have inspired many generations of talented young people to become leading musicians around the world.