While some students attend Kinhaven with dreams of becoming professional musicians, Blair Goins (tuba ’76–’78) attended simply for the love of music. His three summers at Kinhaven were an important part of his life experience during a difficult time. “Despite some intense personal issues, I felt very connected with the faculty and to the friends I made,” he says. “The chamber music was phenomenal and the fact that you’re performing every week in front of crowds was brilliant.” Blair says those weekly student performances – their frequency and informality – helped him learn to manage his pre-concert jitters, something he finds useful today as a professional musician.
Blair says of the path he followed to becoming a professional musician (he is an accomplished composer and tuba performer based in Washington, DC). “I didn’t even think about music until, as a physics major, I realized I wouldn’t be happy doing it eight hours a day.” But he was taking a music theory class and playing in the Rochester University Orchestra. “And then it hit me,” he says. “This is something I love! So I auditioned for Eastman and went there instead.”
Blair was still not thinking about a career in music. “I tend not to plan my life years in advance,” he says, “and sometimes it’s just weeks at a time!” So with a degree in composition with primary study on tuba, Blair taught himself music typesetting, copying handwritten scores by hand. An early adopter of typesetting software, he works with performers – among them jazz trumpeter Roy Hargrove – and organizations such as the National Symphony Orchestra and the Kennedy Center to print their music for performance and publishing.
In addition to playing in various brass chamber groups, Blair is a member of the Symphony of the Potomac and the Smithsonian Jazz Masterworks Orchestra, and he is a founding member of the Great Noise Ensemble, which plays contemporary classical chamber music. “It’s like a Stravinskian orchestra, one of every instrument; there’s even a harp and a banjo,” he says. Blair is one of the group’s resident composers and says he’s fortunate to be a part of a performing group that has premiered several of his compositions. Blair recently learned he was the recipient of two Washington DC Commission on the Arts and Humanities fellowship grants, intended to further support his composing.
Blair says Kinhaven’s informal atmosphere spilled into all aspects of camp life. “In the main house, there was a fireplace with big tables. I would hang out there and chat with David or Dorothy [Dushkin]. The idea that you could hang out with the founders of this place was amazing.” Blair also remembers former Director Jerry Bidlack’s sense of humor and warmth. “I loved his leadership of the orchestra – he inspired me to play well. Perhaps it was because he seemed to love the music he was conducting.”
We don’t expect every student that comes through Kinhaven to become a professional musician. Blair is a great example of how to take the lessons from Kinhaven’s camaraderie, acceptance, and intense musical experience and make it your own.
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Tito Muñoz is one of the most gifted and versatile conductors of his generation. Currently in his third year as music director of the Phoenix Symphony, he previously served as music director of the Opéra National de Lorraine and the Orchestre Symphonique et Lyrique de Nancy in France. He has also held positions with the Cleveland Orchestra, Cincinnati Symphony Orchestra, Cincinnati Chamber Orchestra and Aspen Music Festival.
Committed to working with young artists, Muñoz has conducted performances at many prestigious youth orchestras, conservatory programs, and festivals, has conducted with youth orchestras and led conducting classes. An accomplished violinist, Muñoz studied at Juilliard School’s Music Advancement Program, the Manhattan School of Music Preparatory Division, and Queens College (CUNY).
Q: You’ve conducted with many university and youth orchestras. What do you like most about working with young musicians?
A: My favorite thing about working with a young orchestra is that it is probably the first time most of the musicians are discovering a piece. The excitement and passion that comes from them is very inspiring. I really enjoy imparting all of the things that I’ve learned over the years from the wonderful orchestras I’ve had the privilege of leading. To see their faces and feel their excitement when the piece starts coming to life is something you usually don’t get with seasoned professional orchestras.
Q: What inspired you to pursue conducting as a career?
A: I began music as a violinist (including Kinhaven – Junior session 1997) and eventually gravitated toward leadership positions because I was always curious about the workings of an ensemble and taking responsibility for it. I was fascinated by what the conductor was responsible for. I remember one of my first times playing in a full orchestra, the conductor asked the timpani player to make sure his drum was tuned to the right pitch. I didn’t know that timpani could be tuned! This made me listen more to what was going on around me, and I eventually wanted to try conducting. I found opportunities in high school and in college, and eventually I successfully auditioned for the conducting program at the Aspen Music Festival, which was really the start of my career.
Q: Most listened-to album (classical or otherwise)?
A: Most recently it has been “Art Pepper + Eleven.” I really enjoy big band and jazz music in general. Rhythm is such an important part of my craft and aesthetic (it should be for all musicians!), and I learn a lot about how to feel time from listening to great jazz musicians. Otherwise, I just turn on the radio and enjoy whatever might be playing.
Q: If you could only eat one meal every day for the rest of your life, what would it be?
A: The chicken and rice plate (with white sauce) from the falafel truck around the corner from my apartment in Queens – a guilty pleasure, but there’s nothing like it!
To learn more about Tito, visit his website, titomunoz.com.
Focused on inspiring and educating young musicians, Simon Lipskar has conducted the New Jersey Youth Symphony Youth Orchestra since 2006. During summers Simon conducts at the Kinhaven Music School, where he was a student himself as a teenager.
Simon received his master’s in orchestral conducting from the San Francisco Conservatory of Music, where he studied under Michael Morgan and Denis de Coteau and was awarded the conducting department award in honor of outstanding contributions to the conservatory ensembles.
A graduate of Yale University with a B.A. in religious studies, Simon was a Juilliard pre-college violinist, pianist, and composer and was an award-winning chamber musician as a teenager, performing in Alice Tully Hall among other venues.
Alongside his work with young orchestral musicians, Simon is president of Writers House, a leading literary agency in New York, where he represents many bestselling and award-winning authors.
Q: You’ve been conductor of the New Jersey Youth Symphony Orchestra for over ten years! What is your favorite thing about working with young musicians?
A: What I love most is the willingness of young musicians to join with me in fearlessly pursuing beauty, letting go of the social, personal, and psychological barriers to expressivity and discovering together that the true joy of and in music comes from abandoning all resistance to the passion and ideas of the extraordinary art we make together.
Q: You were a student at Kinhaven before you came back as a conductor. What keeps you coming back?
A: I love Kinhaven madly, crazily, passionately. Music at Kinhaven is not simply something to study but a fact of life. Music is the lifeblood of this beautiful community of musicians and you feel it in everything, from the committed rehearsals of chamber music, the singing that closes every day but that might spontaneously erupt at any time, the exuberant, irrepressible dancing that follows the amazing weekly faculty concerts. The simple joy that the extraordinary faculty and students share in making music together is enthralling. I consider my two weeks at Kinhaven the highlight of every year: they revitalize my faith in the importance and possibility of music.
Q: Most listened-to album (classical or otherwise)?
A: Oh, that’s terribly unfair! I listen to so much music, of all kinds. The best I can do is tell you which albums have been getting repeat listenings recently: Charles Mackerras’s unparalleled recording with the Vienna Philharmonic of Janacek’s the Cunning Little Vixen, Arcade Fire’s magnificent Funeral and The Suburbs, Radu Lupu’s almost too-beautiful renditions of the late Brahms piano works, Rhiannon Giddens’ devastating second solo album, Freedom Highway, Gabriel Alegria, and the Afro-Peruvian Sextet’s awesome fusion of jazz and Afro-Peruvian on Pucusana. And tons of Shostakovich, because I’ll be conducting his Tenth Symphony at Kinhaven this summer so I’m in a deep dive into all his music.
Q: Your students say you inspire them, that you “know how to light that fire.” What inspired you to become a horn player?
Carolyn Wahl: My dad was a music teacher in elementary, middle, and high school. So I grew up with it. I began on piano at age 6. My dad would say, “What instrument do you want to try this summer?” So between sixth and seventh grades I decided to try the French horn, and that stuck. I suppose sometimes the instruments pick us. I realized that when I was still playing piano and went to a concert. Afterward, someone asked me if the pianist had inspired me. I said, “Sure,” but the truth was I was more inspired by the horn section in the back.
Q: Did you like practicing? How much did you practice?
Carolyn: Practicing! Well, I was always getting ready for things, so out of necessity I was practicing, and it wasn’t boring. But I wasn’t like some of my students who practiced too much, some of them six or seven hours a day! The thing about practicing is that it’s solitary. You have to be comfortable being alone in a room. But if you don’t like it, better find something else you’re passionate about.
Q: If you’d known about Kinhaven as a young person, would you have attended? Why?
Carolyn: I would have loved Kinhaven. The constant changing of chamber groups, playing in a woodwind quintet one week, then with the brass the next, would have appealed to me. I would have enjoyed playing in the orchestra, learning the music quickly, and a different repertoire each week. I would also have spent time in the art house learning pottery. And I would have loved the traditions, the regatta, Wally Wampus, etc. You don’t see that in other music camps.
Q: This will be your thirty-fourth year at Kinhaven. How do you get ready for another summer?
Carolyn: I think about what my class will look like. I’m curious to see who will come back. It’s easy to ignite kids there, especially after their first summer. One year I had this student – I knew he had something special but he just wasn’t interested. I had to get him to Kinhaven! So I introduced him to someone I thought he would think was cool – and he recruited him for me. Now he’s plays with a major orchestra. He just caught on fire at Kinhaven. It’s fun to figure kids out, to get into their heads. But sometimes you have to outsmart them a little bit!
Q: Do your students ever surprise you with an insight or inspire you?
Carolyn: Quite often, my conversations with students make me aware of what other teachers are telling them. I’ll try anything to get a point across. So the students will tell me something, and I’ll process it and determine whether I can use it. I also like to watch others work with my students – it gives me ideas to try. Of course I always use myself as a guinea pig! I like talking to them and hearing what they have to say – it helps me understand how they think and what’s important to them.
Q: What is it about Kinhaven that keeps you coming back for more than thirty years?
Carolyn: What I like are the people and the enormous respect they have for one another. Since the students are rotated in groups, competition is downplayed, which was the intent of Kinhaven’s founders. Everyone gets along and cares about one another. I like an environment where teachers are interacting in a personal way and giving all they’ve got. Since there are under 100 students, it is an intimate experience for students and staff. It is possible to really spend time helping your students and other students in the groups we coach. I’ve been going back so long that some my friendships with other faculty are very deep. And it’s a beautiful place. It’s a little like Brigadoon, a magical place that appears briefly just once a year.
Q: What’s your favorite composition that features the French horn?
Carolyn: I should probably say whatever I’m playing at the moment! But I love orchestral playing. Every week it’s another masterpiece. The orchestra has all the components of smaller groups, it’s all present. Sometimes, while waiting to play my part, I lose myself, surrounded by the beauty of the sound.
Q: What’s your favorite Jerry Bidlack story?
Carolyn: I especially enjoyed watching him with the students. I especially remember the camp meetings, where Jerry would moderate discussions of issues of concern to them. All students with something to say were listened to. It was fun to watch him guide them to come to a compromise and see each other’s points of view. Sometimes the outcome was different than even Jerry thought it would be, but he was great at finding common ground. He was also a clever poker player. We all loved playing with him on Monday and Thursday nights! I will miss Jerry at Kinhaven but his spirit will remain with us all.
Barbara Sherman and Susan Nisbett met at a chamber music workshop, but didn’t start to become close friends until they met again at a birthday party. When Susan saw an announcement for the Kinhaven Adult Piano Workshop, she asked Barbara if she thought she might like to attend. Susan’s sister, whose daughter Laura Barbieri attended Kinhaven’s junior session, hadn’t heard of it, “but she did tell me how good the food was!”
This summer will mark Barbara and Susan’s twentieth year of playing piano four hands together at Kinhaven.
Each began playing piano at an early age – Barbara at 8 and Susan at 9. Barbara became a lawyer, and “piano saved me, and my soul, from that,” she says. Susan studied piano very seriously, but stopped during high school to try dancing, something she kept up until her sixties, and she has always sung in a choir. She earned two degrees in French literature and became a journalist. But when her daughter began piano lessons, Susan thought she should go back. “And that’s how, at age 38, I became obsessed, practicing maybe three to four hours a day.”
During their first year at Kinhaven, Barbara and Susan played Ravel’s Mother Goose Suite. They played it again in 2013, switching parts. “It’s exalting music,” says Susan, “you want to cry at the end of your own performance.” One of their most vivid memories from that first year was the copious rain, which, as they remember, was of biblical proportions. “The ground began to swell and heave, and springs began to sprout up,” Susan recalls. Cold and soaked to the bone, almost all the faculty and students trekked to the Vermont Country Store to buy identical yellow raincoats and shoes.
The two friends describe piano four hands as an “intimate choreography.” “We have to share that space, feel each other breathe, touch arms – we become a four-handed pianist,” says Susan. Barbara adds, “We’re together so much. We eat together, sleep in the same cabin, and then we’re at the piano for six hours a day. So when I leave Kinhaven and return to my own piano I feel Susan’s presence – or absence – like a phantom appendage.”
Asked what has made their piano partnership so durable, Barbara says, “Whatever chemistry makes people good friends, it’s the same thing when you play together.” This level of closeness isn’t for everyone. Susan says, “You have to love the other person in a partnership like this. And when we first sit down to practice together, it’s ‘Yeah, this is what it’s supposed to be!’ What a joyous thing!”
They both have high praise for Director Leander Bien’s leadership: “Leander makes sure everybody is happy and thriving, and he occupies his time to make the experience extraordinary.” The students and the non-competitive atmosphere are also important, they say. “Kinhaven is devoted to the refinement of what you bring and shapes it for a concert.”
The coaching staff are the main reason Barbara and Susan return to Kinhaven year after year. “The coaches know they won’t change our approach in four days, but they’re very good at finding things we can improve right away,” Barbara says. “They suggest ideas or provide insights that quickly result in a much more refined, convincing, and expressive performance.”
They also look forward to the intensity of the one-week workshop. They recall working on the slow movement of a Schubert sonata one year. “We did come prepared, but then we started digging in to the music, and one evening we worked and worked and worked, talking through the most minute issues,” says Susan. “It was miraculous,” Barbara agrees.
Equally important are the friendships Barbara and Susan have made at Kinhaven. After the week is over, they find it difficult to leave. “It’s just too painful a rupture, too painful to leave the ‘Brigadoon thing.’” Susan says, “Sometimes we even see our fellow students in between Kinhaven sessions. We care about them deeply. We all share something special.”