{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://lcdl.aviaryplatform.com/iiif/ks6j09ww8s/manifest","type":"Manifest","label":{"en":["Spoleto: Oral history with Geoff Nuttall"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/212/original/LOHI_aviarybanner2.jpg?1741032082","metadata":[{"label":{"en":["Date"]},"value":{"en":["2009-06-02"]}},{"label":{"en":["Interviewer"]},"value":{"en":["Lancia, Jessica"]}},{"label":{"en":["Interviewee"]},"value":{"en":["Nuttall, Geoff"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eGeoff Nuttall began performing yearly at Spoleto Festival U.S.A. in 1995 as first-violinist with his renowned St. Lawrence String Quartet. In 2008 he was named associate artistic director of the chamber music series and will assume leadership from longtime director Charles Wadsworth in 2010. Nuttall discusses the legacy of Wadsworth and chamber music, the logistics of selecting the performers and the repertoire, and the advantages of having Charleston as a venue for the festival. Audio with transcript.\u003c/p\u003e"]}},{"label":{"en":["Contributing Institution"]},"value":{"en":["College of Charleston Libraries"]}},{"label":{"en":["Media Type"]},"value":{"en":["Oral Histories"]}},{"label":{"en":["Subject - Personal or Corporate"]},"value":{"en":["Spoleto Festival U.S.A."]}},{"label":{"en":["Subject - Topical"]},"value":{"en":["Festivals","Festivals--History","Chamber music"]}},{"label":{"en":["Subject - Geographic"]},"value":{"en":["Charleston (S.C.)"]}},{"label":{"en":["Subject - Geographic County"]},"value":{"en":["Charleston County (S.C.)"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Date Digital"]},"value":{"en":["2009-11-25"]}},{"label":{"en":["Digitization Specifications"]},"value":{"en":["Mp3 derivative audio created with Audacity software.  Archival masters are wav files."]}},{"label":{"en":["Type IMT"]},"value":{"en":["application/pdf","audio/mpeg"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright 2009, Spoleto Festival USA. All rights reserved. For more information contact Special Collections, College of Charleston Libraries, Charleston, SC 29424.\u003c/p\u003e"]}},{"label":{"en":["PID"]},"value":{"en":["lcdl:27146"]}},{"label":{"en":["Collection Identifier"]},"value":{"en":["COH"]}}],"summary":{"en":["\u003cp\u003eGeoff Nuttall began performing yearly at Spoleto Festival U.S.A. in 1995 as first-violinist with his renowned St. Lawrence String Quartet. In 2008 he was named associate artistic director of the chamber music series and will assume leadership from longtime director Charles Wadsworth in 2010. Nuttall discusses the legacy of Wadsworth and chamber music, the logistics of selecting the performers and the repertoire, and the advantages of having Charleston as a venue for the festival. Audio with transcript.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright 2009, Spoleto Festival USA. All rights reserved. For more information contact Special Collections, College of Charleston Libraries, Charleston, SC 29424.\u003c/p\u003e"]}},"provider":[{"id":"https://lcdl.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Lowcountry Digital Library"]},"homepage":[{"id":"https://lcdl.aviaryplatform.com/","type":"Text","label":{"en":["Lowcountry Digital Library"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/212/original/LOHI_aviarybanner2.jpg?1741032082","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/125/190/small/data?1655838019","type":"Image","format":"image/png"}],"items":[{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20211027-32251-16ccqc3.mpga"]},"duration":2175.264,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/125/190/small/data?1655838019","type":"Image","format":"image/png"}],"items":[{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/content/1","type":"AnnotationPage","items":[{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-cofc.s3.wasabisys.com/collection_resource_files/resource_files/000/125/190/original/open-uri20211027-32251-16ccqc3.mpga?1635342755","type":"Audio","format":"audio/mpeg","duration":2175.264,"width":640,"height":360},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190","metadata":[]}]}],"annotations":[{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633","type":"AnnotationPage","label":{"en":["Geoff Nuttall Interview Transcript [Transcript]"]},"items":[{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Introduction. This is Jessica Lancia. I am interviewing Geoff Nuttall for Spoleto Festival USA. It is June 2nd, 2009, and we are at the Gaillard Auditorium. First of all, congratulations on your appointment as a new Director of Chamber Music.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=0.829,18.09"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Thank you.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=18.93,19.17"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e We want to talk a little bit today about your history with Spoleto both as an artist and as an organizer. And so the first logical question would be to figure out... a little bit about how you got connected first to Spoleto.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=20.07,32.96"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Well, everything flows through Charles, of course, and in this case more specifically through Charles' wife, Susan, who runs Young Concert Artists. And there's always been a strong connection ever since Charles and Susan have been together between the two, YCA and Spoleto, both Italy and USA. In any event, so we as the St. Lawrence Quartet were one of the winners of the Young Concert Artist auditions in '92, maybe it was? '91, '92, I can't remember. Back then, there was a real sort of pipeline. Charles would find, Susan would discover these young artists, and then Charles would often, if he liked them, bring them to Spoleto USA. And that was around the time, you know, '93 was the whole mess in Spoleto. So, and then, Charles took over full-time. I think we first came here, '94, '95. So, that would have been right after that Charles officially took over, and we've been here ever since. So, it was really thanks to Susan, and thanks to Charles, that we've come, and it's definitely thanks to Charles that we've come back every year since then.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=34.14,95.603"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Yeah, so the year you started, I think it was '95. We looked at the programs. That was a turbulent year, for Spoleto, with Milton Rhodes leaving right after the split. What was your take on that situation? Were you involved in that?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=97.03,110.29"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Well, yeah. Well, it's amazing how naive you are at that. I was just so excited. We were sort of slightly overwhelmed. We were young quartet, you know, we're just trying to do our best. So I was not at all connected to the inner workings of Spoleto in any way back then. And looking back, I thought, wow, who knew that was going on? So they, whoever it was, did a good job of at least insulating us as players in the chamber music, that stuff was going down. And Charles himself always never, you know, had given any inkling that anything bad was happening. So. To be honest, I had no clue how serious it was until many years later when we start hanging out with Pug Ravenel and Mayor Riley and hearing all these stories about the whole mess. It's a sort of interesting backwards approach.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=110.29,152.34"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Yeah, so you are a world-renowned performer, your quartet has been all over the world, you have accolades as long as anybody can wish for, and yet you've been this fixture at Spoleto since '95, and you keep coming back. What is it, why have you continued to return so frequently, even as your name became more well established.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=154.64,177.4"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e I've never been a big, personally a big fan of fame meaning anything other than you get paid more money to play. And so for us, it's simple, the 33 concerts that are put on at Spoleto USA Chamber Music are some of the best musical experiences of our year and there's a, I mean the Dock Street was an incredible theater and I think it'll be even better when we go back there and the audiences are amazing and you get to play and meet with people who, like Steven Prutsman, for example, Todd Palmer, these... These are my lifelong friends now and we met them playing here. So, you know, Alisa Weilerstein I played with here for the first time. So it's that sense of camaraderie, the perfect space, the effortless sort of ease that Charles brings to making everybody feel comfortable. And the audience is, it's a no-brainer. Even though we could make a lot more money playing for a concert somewhere. You know, if you actually add up the dollars, it is not, for the quartet it is a huge money-making deal. But, what we do is such a specialized thing to be honest you know it's acoustic music in a small resonant space for a small number of people. And there are not a lot of places in the world that are better and more conducive to doing that then it's Spoleto USA. So for us it's sort of been like if we get asked back we're coming.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=180.81,257.07"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Now, how is the chamber series, music series, is organized in that you have a series of performances and then all of these concerts, but can you talk a little bit about what is the process as far as, you know, combining the musicians for each chamber group, the pieces you decide to play, things like that?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=258.22,275.24"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Well it's interesting, I mean I've had I have more of a part in the actual programs last year but Charles through the years has made it his specialty and he's proud of his ability to create programs that are varied and interesting yet give enough of a part of the problem is a logistical one, let's say you have eleven musicians at a festival, thirty-three concerts and you want to include everyone but not overwork people. So the basic logistical questions of keeping everyone involved and happy, it's sort of like a baseball team. You have a bench player. You have all these great players and you've got to make sure they all get enough at-bats. So that's one of the problems. It doesn't sound very romantic, but it's a practical one. And then of course choosing a repertoire that people know enough because in reality let's say you wanted to put on Shoenberg Chamber Symphony or something like that and nobody knew it. It's a piece that requires 30 or 40 hours of rehearsal. We probably don't have that kind of luxury here. So it's also picking pieces that people know well enough to make a great performance out of. Charles is a master at the juggling act. It's a tricky thing.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=275.87,343.76"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e And of course, then it's a balance, especially when you're in one of the great traditions, it's unique to here, is the whole no program thing. No printed program. So, to make it interesting and accessible enough for everyone so if you pay your fifty bucks for a ticket you go and you get a whole concert that you hate you're going to be pissed off. So that's a challenge for Charles, I think, to have. You can't have a whole program of new music especially in that sort of setup that it's at because people say I wanted to hear the concert before where they played all Mozart. If you write the programs out and say this program is all new music then people at least have, they choose to come or not. So that makes it even trickier I think for Charles in a way to make sure that each program has, can keep everybody happy enough in the audience that they don't, they keep coming back for more.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=344.96,394.44"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e How does your rehearsal work? You have so many pieces you're playing every day. How do you practice them?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=395.75,400.47"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Well, let's say we earn our money, it's for sure. I was, you know, basically, here's a day in the life of a chamber musician, like Steve Prutsman today, he was at the hall at nine rehearsing, because there's a new program at eleven and one today. So he was at the hall at nine, he's playing Haydn Trio and Chopin Cello Sonata on those two programs. So he rehearsed from nine till about ten fifeteen, ten thirty. Then he played the first concert, quickly ate lunch, played the second concert, almost pretty much the entire show. He was on his way when i came to see you to go home to change for our three thirty rehearsal i'll meet him and he rehearses pretty much solidly from three thirty till about ten o'clock tonight so that's a day in the life of Steve Prutsman. And then of course tomorrow he has to get up, dress rehearsed in the morning for the one o' clock concert, play the last of the three sets at the eleven o' o' concert, and then play Schumann Piano Quartet plus the piece we're doing with him on the one o'clock concert.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=401.45,456.6"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e What's the day in the life of your, of Geoff Nuttall?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=457.19,458.659"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Well, it's not as busy playing-wise for me, but it's incredibly busy just logistically for me because I'm at every rehearsal and I'm at every concert and I am doing this interview with you now and I go into the orchestra concert tonight because we're friends with Sarah Chang. So the political stuff, and Charles of course has had to do even more because he's in such a demand. So it's a very busy time and it's hard because the most important thing is that the level of music making has to be at the highest possible standard. In the perfect world we'd have to do none of this stuff. and just rehearse all day, but we don't have that luxury. So it's going to be a challenge. And I think Steve is probably a little over, is an example of where we probably miscalculate a little bit and gave him a little too much work in a really close period of time. He's the only pianist other than Charles here this last week, so it's a lot of work for him.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=459.6,507.03"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e So is it somewhat of a daunting idea to be taking over for Charles and having the responsibility then? Your responsibility will be to select the pieces, or select the repertoire, invite the musicians to come down. What all is involved with being the Director of Chamber Music?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=507.31,528.49"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Well, there's a minutia of logistics, stuff like, we have an incredible assistant this year, Shannon, who's pretty much, I mean, the whole place would collapse around us without her. Driving people, picking up the food, I'm mean, stuff like organizing, okay, you have two concerts, 11 and 1, they have to be fed in between, right, so somebody has to find out what they want to eat, go get the food. You know, these, stuff like that, so, replacing Shannon and hopefully getting her to come back, finding a page, there was a full-time page turner, so I'll be involved in doing all of that. That, that'll take enough time. But then of course, as you suggested, picking the players, putting the programs together, hopefully a little earlier. Charles is a master, but he's always late with programs. So giving people, especially if you're playing difficult repertoire, a chance to thinking about ways that we can, you know, whether or not we bring in a composer, you know, there are lots of major decisions to be made. There has been a tradition of having a composer in residence at Chamber Music, sometimes. You know, going to meetings with Nigel and Natalie and saying, hey, what are the logistics? How much money do we have? Figuring out finances. Not going over budget, but trying to do interesting things. So there's a whole lot of levels of stuff involved in the job, some of which are more fun than others, I might say.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=530.689,605.62"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Yeah, Nigel asked me to ask you about the future of the chamber music series. I know you've probably been asked this a lot.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=606.2,614.6"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Well, I mean you know it's uh... the old adage if it ain't broke, don't fix it is really apropos here and i think Charles now it's been it's being accolades, endless accolade for Charles and all richly deserved and simply because he's well let's compare: Spoleto, Italy and Spoleto, USA used to be together, used to have, you know... It's really started in Spoleto, Italy, the whole idea of these concerts informal, short, Charles talking, no printed program, great musicians, blah blah blah. Great concept, which Charles has sustained here, it has completely petered out in Spoleto. There's no more chamber music in Spoleto, Italy. So you've got to give him credit for, it's like being a really good gardener. It was a great idea. You've got this great seed, but you have to keep on it to keep it thriving, and he's managed to do that. And to sustain 33 concerts, for two and a half weeks, for all these years here every year and have, you know, pretty much packed houses.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=616.32,673.16"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e So it sounds really simplistic and I'm sure Nigel would agree that to not screw it up is important, you now, to not have people not come is basically what we want to do. Now I think that's going to be a challenge because a lot of the allure, you know it's hard to separate Charles Wadsworth from chamber music. In Spoleto, you know, it's a lot of people simply go there because he's incredibly charming and graceful and he's a great musician. So those are hard shoes to fill. I mean, my angle is I do a lot of things in a similar way to Charles. I can BS with the best of them. And I've learned a lot from Charles. I definitely don't have his comic timing. So I think I'll probably have a slightly different angle on things. But the one thing we have in common is trying to bring in great players to play incredibly great music in a great space. I'm sure we'll lose a few, but I hope we can keep it going. I think somewhat in a similar way to how Charles has kept the garden, the concerts growing, he's also propagated this whole fan base here.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=674.46,739.11"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e I mean they're rabid chamber music fans. A lot of the people you come up to, I go to every concert and they come here just for that. So he's managed to do that really successfully. I think one of the things, and I've been talking to some people here, and it's going be, you know, it's a slow process to get it going. have a little more connectivity with the musical community in Charleston to try to engage some more young people. Well, as most people know, chamber music audiences around the world are old. I mean, I think actually in Spoleto they're younger than they are in most places. And the old adage that you go to Europe and there's a youthful crowd is just not true. We were just on tour there for three weeks. So we want to, the music is so great. That's what, you always keep coming back to that. Music is the driving force behind everything. It dwarfs everything else. And if you can make it accessible to young people, I think they'll clearly get, hey, this is super cool. I can get this. And I think what we do and what Charles has set up at Chamber Music here, the informalness of it, the length of the concert is very conducive to young people.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=739.77,804.76"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e So for instance, they're building this big new school of the arts here in Charleston. And that's a no-brainer. We should have some sort of connective interaction. So I've been speaking to one of the teachers there and next year hopefully we'll have in place we've all these incredible artists let's I know where time is a problem but we're going to set up a couple master classes, a presentation, and bring some of the young players here to hear the concert and maybe even set them up in like a cool room upstairs at Dock Street to play a little bit before. But just to engage the young people in ways which hopefully will keep them going and not necessarily going in a professional way, you know. They don't have to be professional musicians, but they make music a passionate part of their life from an early age rather than waiting until you hit 50 and go, hey, that music is pretty cool. So I think that's a big thing and that's something that the St. Lawrence Quartet has been committed to for a long time. And not that it hasn't happened here before, but I don't think it has as much force behind it that it needs to have to really succeed. So that's one of my major goals, in the short term is to have a little more of that connectivity while not losing our core audience, basically.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=805.08,873.67"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e So for you, having been at Spoleto for so many years now, how has it changed over the years? What has changed for you personally?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=875.69,885.45"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Well, I used to go to a lot more shows when I was here. I don't get out much anymore.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=887.79,892.9"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e You got married in between, and you have a kid.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=893.22,893.22"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Well, yeah, I mean, life things are, it's been very, it's Spoleto, and Charleston has been such a part of my life. I mean I got married here in 2000, our son's here now, it's a family affair. My wife played on the concert, a birthday concert, and played the Strauss Sonata this past week, and she's an incredible fiddle player. So there's a slight fear of nepotism, of course, but then people hear her, and it's okay, because she kicks ass. So that's been a big, I obviously that's a change which you can't escape. But I must admit, it's become more of a... I mean, I wish I could take more advantage of all the stuff that's going on at Spoleto. It was just too busy. I mean I'm going to the orchestra concert tonight to hear Sarah and the orchestra play, but it's the first event that I'll have gone to, the whole festival, just because it's not really possible. So, that's the one thing I remember. I remember going to the opera and going to see shows and stuff, and it doesn't really happen much anymore.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=894.36,951.74"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Is there a feel that is different at all?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=952.19,954.37"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e I don't think so. I think... I think in some ways the major changes within the city itself, I think it's, in 15 years I think like the level of city stuff, like the food, the entertainment, the bar scene, I mean it's like San Francisco level now. I think its come a long way. You know look at King Street north of Calhoun from what it was 15 years ago. I don't know how long you've been here, but it's transformed in a really positive and funky way I think. So I think, I tell people now, you don't just come for Spoleto, it's always been good food here, but now it's like... incredible. There are like ten restaurants which you could transplant to San Francisco and not miss a beat. I'm making those numbers up.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=955.33,996.02"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e So that part of the city has really, I think, it's sort of symbiotic because it's been pushed by the Spoleto crowd, obviously, but it also serves back when you come here. You go to a concert, you go to Fig, you go get a drink at some super cool bar and hear some jazz, and then you can go to chamber music the next morning at 11. So I noticed that as a as a positive transformation in the city, sort of along with Spoleto. The experience of Spoleto for me, though, is pretty much, I mean, we've been doing the same thing for 15 years. It's great. I mean Charles has gotten older. Some of the players have changed, but some of them are the same and some of the crowd has changed, but a lot of them are the same. So there's a continuity which I really enjoy. So from the chamber music point of view, Charles sort of perfected the form a long time ago and it hasn't changed a whole lot in the 15 years that we've been here.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=996.78,1048.369"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e How would you rank this festival with all the other festivals you've attended, or performed at?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1051.29,1058.57"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e I mean, every festival is really different, so... A lot of the festivals we go to are more specialized, you know, they're simply music festivals. A lot the festivals that we go too are also teaching festivals, so we, I don't think it's safe to say we've never, there's nothing that we've been a part of that comes close to the eclectic variety of available stuff to do, that Spoleto brings. Like you know the chamber music is a whole universe unto itself, and many festivals that would be it. You know, you go to a chamber music festival. The majority of the ones that we go to are of that ilk. So Spoleto is really this massive amoeba that Nigel has to sort of keep together in a unified way. But it does allow, if you're a patron of the arts to come, you can hang out here and see a whole bunch of stuff over a short period of time. And I'm always struck by the amazing amount of stuff going on. Even in a year which is sort of cut back, there's still far more than you could ever possibly do. So that, I think, is and also, so I'm just trying to think, at least in my experience, you know, with the whole, basically Charleston becomes Spoleto and vice versa. Because Charleston, even though it's much bigger than you think, the downtown core is a small place, so it sort of transforms itself unlike anything I've seen. I'm sure Salzburg is probably of similar ilk. I've never actually been. So there are probably places in Europe that Spoleto, Italy was probably one of those, but... In our experiences, there's nothing quite like Spoleto for those reasons.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1060.17,1154.47"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Have you worked as frequently in any other festival as you have Spoleto?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1155.09,1158.35"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e I guess we've, there are a few that we have an ongoing relationship. There's an amazing chamber music festival in Ottawa, Canada, which is massive in scope but only does chamber music, and we've been going there for more than ten years. There's a festival that we're now sort of ensemble in residence in Camden-Rockport called Bay Chamber Concerts in Maine that we've going to for over ten years, so there's nothing that, I mean we were only three years old as a quartet or so, four years when we first came to Spoleto, so nothing quite as... as long as that but there's there's some that you sort of that fit with your life and you like the place and you like people running it and you, you keep going back and then there are other you'd sort of do a turnover. You go to the place and go away and then you come back every few years so that's um. But yeah, I think it's probably safe to say that Spoleto has been our longest continuous run at a festival of any sort.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1161.44,1215.83"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Why do you think Spoleto has this magic, this such long success?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1217.01,1223.27"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Well, I guess the example, we got married in 2000 and we're going to get married, we have to do it quick, where should we do it? I live on a farm in Canada; my parents are there. Lydia's parents are from Connecticut. So we're trying to find, what place could we invite people to that you would feel good about, like they'd actually want to go to, but you'd still want to get married there. And they're not a whole lot on the list. In a nutshell, we're like, oh, we'll play our last concert, we'll invite people down to the end of Spoleto and we'll get married. It'll be perfect. And that's, I mean, to sum it up, that's it. It's the combination of the quality of the music-making and the dance-making, and the art-making. The incredible, the smell of history in the city. You know, you walk around, you just chew on things. It's very unlike any other city in the country, as you probably know, maybe Savannah, but even Savannah is not, there's nothing really like it, just to walk around.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1226.55,1280.81"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e I mean, that's a destination unto itself, and you combine that with now the new sort of cutting edge cuisine that's going on, which I mean maybe just because I'm a foodie, but I find that a really important thing when you go to a place to hang out. You want to enjoy yourselves and eat good food, and I think that's been a huge thing. So those, you know, the three-headed monster of Spoleto being great, even if it were in the middle of Omaha somewhere. Nothing against Omaha. It would be great, but then you combine that and you sort of interweave it with the presence of the city of Charleston and then all the fringe benefits of the modern city of Charleston. And it's pretty hard to beat. I mean, there's nowhere else I consistently and happily tell people, just go, go for a week, hang out in Spoleto. Even if you don't go to a whole bunch of concerts, you'll still have a great time. And even if you don't go to any restaurants, you still have a great time. So, like our best friend from California is showing up tomorrow to hang out for the last few days. It's a great combination.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1281.41,1344.12"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Would you comment on the venues that you've played, Dock Street specifically, and Memminger, and Gaillard, and were the renovations going on? I guess that's three questions.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1345.51,1356.33"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e That's okay, no, those are good. Well, I mean, it's been, I think Doxtree has a real magic, I mean it had a real magic. The history and the intimacy and the wood. It was problematic because it's a dead, it was a dead space, which is okay for a hall at size, I didn't mind that. But the ambient noise was a real problem. The air conditioning system was incredibly loud and any little, you know, background noise is our enemy because we play as I said before. You know, silence is such an important part of what we do. So a hall that has a quiet background is really crucial to making the audience, connecting with the audience and making them get it. So that's been a challenge at Dock Street. And you know, basically if the fighting, my fight was always, we got to turn off the air conditioning. We're playing this piece. You can't have, you know we're playing Shostakovich's 8th Quartet. Can't have the air-conditioning on! \"But people will die! It's really hot outside!\" So it's always this balance and a struggle, which is not pleasant.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1356.9,1411.3"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e And then we moved to Memminger, which, it was supposed to be really great, but last year there was pretty serious noise issues with the air system that they just, for whatever reason, it was, I think it was probably because it was such a late rush to get it finished. So that was a bit of a nightmare for the first few concerts. We figured out finally a system of turning some things off and.. But it's, I mean, this is one of my little pet peeves and I'm on a constant crusade for silent background, but it makes such a huge difference. We've done some, often played at places where they have no concept of how loud it is because it's always on, you know, ambient noise, like here. It's really loud, but you sort of, after a while, you... But I've done tests with the audience. You go out on stage and you say, \"Welcome. It's great to see everybody. We're going to do a active, you know, audience participation,\" so you total silence, you listen, and then you turn off the system, and people actually hear the silence and the gasp of amazement when they actually get... And it's so much more powerful thing.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1412.5,1470.8"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e So when there's a moment in the music where silence is crucial, when music is made up of silence as much as it is sound, that becomes a big thing. So to make a long story short, Memminger was a nightmare. We got it fixed. And this year, Walter and Reese have done a great job to some extent lessening the noise of the air system. So it's at least palpable. But I'm psyched, and I'm hopeful that the new Dock Street will have addressed and Nigel has assured me that those problems have been addressed. That we can have quiet air system and quiet backstage so you don't hear every footfall. I think people will will appreciate more than they know so those are the three and in the Gaillard we only played, we did one concert with the orchestra there and of course I've been to shows there and uh... it was a pleasant experience, a little bit cavernous. It's always a size to, size of space to number of people ratio and it's perhaps a little large for them. But I'm not really one to criticize that. It's too big for us anyway, even if we wanted to play a concert there.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1471.63,1534.13"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Right. Well, they are considering renovations.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1535.93,1536.486"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e They're talking, yeah. I know.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1536.497,1537.27"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e What are your thoughts?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1538.63,1538.853"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Well, I think that'd be great. Anything to make it, I mean, it's probably not quite the level of Memminger and Dock Street, it's safe to say, in terms of performance space. So, I mean they probably picked not the best time, economically speaking, to have another big fundraising campaign, but if they can do it, it would be amazing, I'd think.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1538.87,1557.71"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e What's your favorite place to play or where have you played other than those?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1558.13,1561.558"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e My favorite place to play is in somebody's house somewhere with a beautiful wood floor and 12 people and a bottle of wine, and some Haydn Quartets. That's really what we do. And that's, in some ways, what Dock Street allowed us to do and Charles has sort of propagated. It allowed us create an intimacy where people feel like you're just hanging out. But I think from a professional point of view, I think my favorite place is the Kleine Zaal and the Concertgebouw in Amsterdam. It's this amazing mecca of chamber music. The hall is perfect. It's in the round with only seats 400 people or something and it's a hard core audience. You play two shows, often people with scores really hanging on every note, really active listeners in Amsterdam. So I'd have to say the Concertgebouw would be probably number one on the list of professional halls to play, but a good room is pretty hard to beat.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1563.97,1623.81"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e What about in Charleston?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1624.62,1626.3"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Well, in Charleston, I mean, there are probably a million great houses. I remember we used to do this house down on South Battery at the, what was the name, the Trainers, I think it was. It's an amazing old room in one of these great old Charleston homes. And actually, the room at George Street is really nice, the office. There are some great rooms in Charleston. We could do a whole tour. We should set that up. Nigel, are you listening to this? We should setup a Charleston home concert tour. No, but I think...","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1628.06,1652.02"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e [laughs] With students.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1653.234,1653.302"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Yeah, actually, we could get you some young groups, have some, that's a great idea. I'm going to talk to him about that. Well, I mean, I've got to say Dock Street is as good as it gets when things are working. It's the perfect size, it's incredibly intimate, it is really clear, it reeks in history in a positive way. It doesn't get a whole lot better than Dock street, so I'm just psyched that they've chosen to renovate it and fix the stuff that was not great about it. So it doesn't get a lot better, knock on wood, than the Dock Street. So the fact that we're moving back in my first year is really doubly exciting for me.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1653.383,1687.343"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Yeah. When you get to play the chamber music series, the artists pretty much come back year after year. Are there certain people you just really enjoy working with and playing with?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1688.93,1700.95"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Yeah, well that's the problem. I mean, I know there's always this question, and Nigel is one, we've had discussions about, you know, what's the right balance between turnover and continuity? Obviously, you don't want a whole new set every year, or maybe some people do, but I think part of the magic in Charleston is, you know, I walk around the streets now and I know half the people in town have been with us through the years and we've sort of grown together. I think... I think that's a good thing, and I think also as a quartet, from a quartet point of view, we're getting better. We're better now than we were 15 years ago when we first came here, and that's also part of the process to watch music evolve, watch people evolve in their music and realize that it's not like tennis, you don't hit your peak at 25 and you're downhill from there. You actually get better and better every year.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1701.2,1750.88"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e So I think Charles has made really good choices in sticking with people that he likes and that hopefully the audience is really like. At the same time, there's so many great players that I'd love to see here. So that's going to be one of the hardest parts of the job, is telling someone that has been here, expects to come every year, that, you know, we're not going to have you back this year, maybe another year, because we want to bring someone else. That's going be hard. But I think it's important to have some balance between continuity and turnover that works for everybody. Steve Pretzman is my closest friend in the world now, safe to say, and we met him here. He's one of the great living musicians of any sort on the planet. And he's not as celebrated as he should be, but that's a whole other story. But you know, if Steve wants to come back, he has an open invitation any time because he's one of best. Elise is also amazing and she has been lucky enough to be on a track that allows her to be super famous. So she's a big star now and I always love to have her back as well and I think she enjoys it here. But at a certain point, you look at, you say... I love going there and I love Steve and the quartet, but I just got this offer from the Chicago Symphony to come and play a concerto and it will pay me $30,000 and I would make $6,000 going to play chamber music for a week, you know.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1751.72,1833.29"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e So I can understand the pull of the really big name artists of which Elise is one. It's going to be hard for them. So that will be forced turnover probably when she or someone of her ilk says, you know, I can't make it this year. But, it'll be a balance. I have these dreams about bringing people like, you know, I'm always, there's a certain amount of pressure to bring young people because that was always the mantra, you know, the whole beginning was to bring unknown artists and mix them with the older. So I thought about trying to get someone like Menahem Pressler to come who's 83. I mean, he's super cool because he's like a kid. He's the youngest guy I know, but he's also 83, you know. So that would be, he may, I don't know how he'd survive here, he may not like it.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1833.97,1879.71"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Do you have any anecdotes of, I mean you've been here so often, what has gone wrong, what's gone extremely well, anything that sticks to your mind?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1881.49,1890.93"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e oh well there's some I mean there's great old great hilarious stories through the years both social and musical I mean I'll never forget the one of the scariest moments on stage ever was we were playing this Dreams and Prayers of Isaac the Blind which is this great klezmer clarinet quintet by Osvaldo Golijov with Todd Palmer back in the nineties and um it's this really out of control crazy klezmer movement and at some point Todd he had to play all these clarinets and he had a bass clarinet was propped up on some sort of stand on stage. Somebody hit her, it just fell on its own. But it fell and hit Leslie's stand, and her stand fell and knocked over Marina's stand. So there's this domino effect. Four stands, including Barry's, all fell over. And I was playing away, I was slightly, I was like hallucinating, going crazy. And my stand didn't knock over, but I didn't really notice until they had all stopped playing. And I looked up, and there was this just, like war zone of stands and music and clarinets lying on the floor, and we just sort of ground to a halt. So that was a great Dock Street moment. Yeah, there's been some fun times as well through the years, you know.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1890.96,1959.3"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Tara Helen O'Connor, I was just speaking with her and she told me there was a time when a palmetto bug, a giant cockroach, came across the stage and you stomped it with your foot and they couldn't get the cockroach off the ground for days.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1961.469,1974.93"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Oh, that's right! I remember that! Yeah, that's right. I killed a bug on stage. That was pretty funny. No, they've been great. I mean, that's part of the fun of here is that you're, it's really intense, but you hang out with this group of people in a really intimate way. In the early days, you know, most of us were single, so we would share play, you know we'd have these big party houses where we'd all live together and we've gotten into a little bit of trouble through the years in various ways. Nothing too, too scary, but uh...","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=1975.71,2001.39"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e What do you mean by that?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=2003.049,2003.131"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e I remember one year, it was a great house, I think it was me and Andres Diaz, and maybe Barry was staying there, and we would have parties, and there was one party we had, which was, you know, parties are fine, that's part of the festival, but it was, it was a big blowout, it wasn't nothing like frat house party or anything, but there were a lot of beer bottles and wine bottles and stuff, and unfortunately there was a big white couch. Remember these are all rented properties, and it turned out to be owned by a rather uptight lawyer who was in town but making money, a lot of people make money off Charleston, off Spoleto because they know \"Oh, they need houses, so I can charge them way more than I normally would.\"","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=2003.131,2039.74"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e In any event, we had a party and, I won't name the composer because it would be sort of embarrassing for him, but, a pretty famous composer was there and was perhaps slightly intoxicated or high or whatever and he during the evening managed to spill a glass of red wine all over this really nice white sofa. Which was, and then, that was, you know, \"Oh, okay, these things happen, we'll get it cleaned.\" But unfortunately, the owner decided to make an early morning visit the next day when we're all like, you now, lying on the couch, and there's a disaster, all these beer bottles, and her couch, which was this beautiful white couch with this big stain, and she just lost her mind. And we actually ended up having to, I think we paid like $750 each to fix her couch, the three of us, so that was a bit of a... of a bad, an expensive party. But those were the days, you know, when we would, it was great because that's when you really got to meet people. You'd play these concerts, you worked really hard and then everyone would get together in these amazing places and just hang out and talk and eat and do fun stuff.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=2040.66,2107.6"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e But now you're married with a young child.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=2108.17,2109.83"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e Now I get up at 6 a.m. because Baby Jack wakes up and says...I'm not tired!","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=2110.45,2114.12"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Do you still stay at the same places?","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=2119.299,2119.857"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e No, the whole housing thing is the same, which is one of the joys of Charleston, is you get to stay in these homes, which was great. Charles has been in the same amazing house ever since I've been here. And so it's a challenge for them, I know, to find places that work for everybody, but some of my fondest memories are, I mean, we had this amazing place on Church and Tradd for a few years, it was one of those big old three-story places. And so yeah, we've been in some really great places and then some really crappy, you never know what you're gonna get, so. But that's part of the, you know, you really feel more connected to the city rather than staying in a hotel for three weeks, which is much less pleasant for the most part, so. But no, we've been all over the place, and you know obviously, basically you wanna be within biking or walking distance from the venues, the halls, or the rehearsal spaces, so that's the goal for the housing people.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=2119.859,2167.77"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Well, I know you think this is probably as much time as we have.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=2168.38,2171.84"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eGeoff Nuttall:\u003c/strong\u003e I should probably have, yeah, I should get going.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=2171.84,2173.34"},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eJessica Lancia:\u003c/strong\u003e Thank you very much.","format":"text/plain"},"target":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190#t=2173.78,2174.54"}]},{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://lcdl.aviaryplatform.com/collections/1695/collection_resources/53015/file/125190/transcript/77633/annotation/69","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/077/633/original/open-uri20250328-1406-8y9uaw.vtt?1743185646","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/077/633/original/open-uri20250328-1406-8y9uaw.vtt?1743185646"}]}]}]}