THE QUARTET PROGRAM (1970-): Founder/Director
THE QUARTET PROGRAM AT BEAVER CREEK (Colorado)(1993)
THE QUARTET PROGRAM AT OBERWART (Austria)(2003-)
Educational mission: train world’s leading musicians
Educational innovations: curriculum uniquely prepares for life of professional quartet musican, soloist, and orchestral leader, so receives support from every established quartet(e.g.;Juilliard,Guarneri,Tokyo, Cleveland), from Itzhak Perlman and Yoyo Ma, and from major concertmasters
Financial responsibility: raise and manage money for 31 seasons
Budget: $130,000 (about $80,000 from tuition)
Principal donors Alumni, parents, community, private foundations, formerly grants NEA
MUSIC FROM OURAY (Colorado) (1993-1999) Artistic Director
Educational mission: bring chamber musicians, important guest artists to small community previously untouched by such culture.
Financial responsibility: teach local board members to raise money from NEA, NPR,
Colorado Council, surrounding communities
EASTMAN SCHOOL OF MUSIC (1986-89, 2003-) Chair String Department
Generally applicable educational innovations: requirement to include work written in last 40 years in graduation recital; masters’ degree oral exam demonstrates ability both to communicate with cognoscenti and neophytes, mediator between Performance and Academic Faculty re curricular change
SUNY PURCHASE(1970) Founding Advisor
Educational mission: examine my experience as successful graduate both of Harvard and Curtis to create a public institution educating "Renaissance" musicians. After succeeding in this undertaking , my employer (and mentor at the time), Michael Hammond, left for Rice where he has led a musical revolution.
CURTIS INSTITUTE ALUMNI ASSOCIATION (1973-6) Founding V.P.
Responsibilities: along with John DeLancie, the founding President, to make alumni aware of their common interest with each other, and debt to Curtis.
CURTIS INSTITUTE BOARD DIRECTORS(1974-6) Member
Activities: on committee to reevaluate conservatism of investments
presented paper which resulted in a more effective and much less costly opera program
offered performer’s perspective on educational and financial decisions of the board (I was the only performer on the board, but one with other skills & interests. I regrettably had to resign when I accepted the Eastman position.)
Value of instruments and bows:
When I assumed responsibilty: $465,000
A contributing factor: my knowledge of tax issues for musicians has led to my testimony as an expert witness.