A passionate, intimate gathering in Marlboro, Vt.MARLBORO, Vt. — This summer marks the 60th season of the Marlboro Music Festival. There is, however, something timeless about this venerable chamber music gathering. Ensembles still mix players of varying levels of experience; the repertoire still hews largely — though by no means exclusively — to established composers of the 18th through mid-20th centuries; and the whole thing has an informal feel that’s at odds with the intensity of the music-making, which occurs in rehearsal and on stage. Indeed, at its best — which it mostly was this past weekend — Marlboro produces some of the greatest chamber music anywhere. Saturday’s concert opened with Beethoven’s String Trio in C minor, Op. 9, No. 3, which drew a polished and impassioned performance from violinist Dina Nesterenko, violist Kyle Armbrust, and cellist Marcy Rosen. At times the passion was too much of a good thing, as if the performers saw the work as a tempestuous middle-period work rather than the fruit of Beethoven’s early maturity. What followed was one of the weekend’s highlights: a profound reading of Schumann’s great song cycle “Dichterliebe’’ by tenor Nicholas Phan and pianist Mitsuko Uchida, one of the festival’s codirectors. Phan is an excellent young singer whose voice is patchy at the top but powerful in its middle and lower ranges. More important, he penetrated deeply into the inner drama of each of the 16 songs. But he was almost upstaged by Uchida’s playing, which was so sensitive and insightful that it went far beyond the role of accompaniment. During the piano codas, she seemed to open up an interior world that recalled the composer’s best solo piano music. They made a superb duo, and certain songs — “Ich grolle nicht’’ (“I bear no grudge’’) and “Ich hab in Traum geweinet’’ (“I wept in my dream’’) — almost overpowered in their intensity. Cellist Rosen returned after intermission with three younger colleagues for a performance of Bartok’s Sixth String Quartet, an elusive work whose character remains somewhat obscure until its deeply melancholy finale. Aside from some brief tuning problems, Saturday’s performance was one of astonishing precision, the quartet adroitly navigating Bartok’s unusual textures and rapid mood changes. If some final quantum of intensity seemed to be missing, perhaps that was due to this hermetic piece rather than to the performers. Sunday’s concert was an object lesson in balances: the careful weighing of voices and phrases that allows as much of the musical material as possible to be heard. A selection of songs with obbligato instruments tested the performers’ skills in this regard: Adolf Busch’s Three Songs, Op. 3a, and Schubert’s lengthy, multipart song “Auf dem Strom’’ (“On the River’’). Busch, one of Marlboro’s founders, was a competent composer but no more; the songs were notable for the intertwining of Jennifer Johnson’s plush mezzo-soprano and Geraldine Walther’s viola. The Schubert is a far deeper exploration of parting and sorrow. The equilibrium between Susanna Phillips’ silvery soprano and Radovan Vlatkovic’s horn was trickier to maintain, but for the most they succeeded. Lydia Brown was the excellent pianist in both. Between them came a rarity — Schumann’s “Six Etudes in Canonic Form,’’ originally written for pedal piano and arranged for two pianos by Debussy. These little gems not only display Schumann’s contrapuntal skill but are full of character as well. Cynthia Raim and Amy Jiaqi Yang were scrupulous in the care they gave to each motif, as it was passed gently back and forth between them. Closing out the weekend was an ebullient performance of Dvorak’s Sextet for Strings, Op. 48. This is not, to my ears, the composer’s finest piece of chamber music, but that was no barrier to enjoying the work of the ensemble, which included New England Conservatory violist Kim Kashkashian. Here, the work of maintaining balances reached a new level; I can’t recall having heard so much inner detail in this busy piece before. It bespoke the thoroughness of preparation that, 60 years on, is still Marlboro’s hallmark. The festival’s final performances are this weekend. David Weininger can be reached at globeclassicalnotes@gmail.com. |
JEFF JACOBY
Don’t give the press a bailout
First of two columns
ARE GOVERNMENT subsidies the cure for what ails the news business? Add Lee Bollinger, the president of Columbia University, to the roster of eminentos who think the answer is yes.
In a new book, “Uninhibited, Robust, and Wide-Open: A Free Press for a New Century,’’ Bollinger argues that the condition of the mainstream press, which is slowly being crushed under the treads of the Internet, “may become so grave as to require injections of public funds.’’ He is convinced “that this will prove to be the only way to sustain a free press over time.’’
Bollinger isn’t the only one who would like to see taxpayers propping up the news industry. Last year, Senator Benjamin Cardin of Maryland proposed legislation that would allow newspapersto operate as non-profits and be supported with tax-deductible contributions.
More recently, the Federal Trade Commission released a “discussion draft paper’’ containing a raft of proposals “to support the reinvention of journalism.’’ Many of them were schemes for funneling money from the government to the media. Among the FTC’s suggestions: increased funding for pub lic television and radio, the creation of a National Fund for Local News, a tax credit to news organizations for every journalist they hire, and even a new “journalism’’ division of AmeriCorps (“to ensure that young people who love journalism will stay in the field.’’).
According to one estimate, such a package of subsidies could cost as much as $35 billion a year. Where would that money come from? The FTC ran all kinds of revenue ideas up the flagpole: Authorize the Small Business Administration to insure loans to nonprofit journalism organizations. Increase postal subsidies for newspapers and periodicals. Levy a new tax on commercial broadcasters — or on consumer electronics — or on TV and radio advertising — or on cell phone Internet service.
But why should journalists be entitled to a multi-billion-dollar batch of media subsidies? I have been working for newspapers for the past 23 years, and my retirement is still a long way off. Needless to say, the viability of newspapers is not a subject I take lightly. Nor do I minimize the significance of the news media and traditional journalism, with all their flaws and failings, to modern democracy and civil society. But does my esteem for the news business — or Bollinger’s or Cardin’s or the FTC’s — justify government intervention to keep it alive?
Subsidies always amount, in the end, to confiscating money from many taxpayers in order to benefit relatively few. Those who call for keeping newspapers and other old media alive with injections of public funds are really saying that if people won’t support those forms of journalism voluntarily, they should be made to do so against their will.
I believe every American family should subscribe to one or two newspapers and read them regularly. But that doesn’t give me the right to make you pay for a subscription you don’t want — not even if I think you would be better off for it. How can the government have the right to do, in effect, the same thing?
The argument for most government subsidies is that the activity they support generates a larger public benefit — a benefit that would be lost if it were left up to the marketplace. In a Wall Street Journal essay last week, Bollinger claims that “trusting the market alone to provide all the news coverage we need would mean venturing into the unknown — a risky proposition with a vital public institution hanging in the balance.’’
But for the better part of two centuries, newspapers flourished in the market. They are struggling now not because there is no commercial value to “provid[ing] all the news coverage we need,’’ but because tens of millions of consumers have come to prefer other vehicles for getting that news. There hasn’t been a market failure, only a market transformation.
I would welcome a new lease on life and profitability for newspapers, and I value high-quality journalism, but the two are not synonymous. Whatever happens to the traditional media, journalism and news delivery will find profitable ways to endure. Like it or not, the transition from old to new is happening. The best thing the government can do is stay out of the way.
Next: Fair and balanced — and government-subsidized?
Jeff Jacoby can be reached at jacoby@globe.com. 
