When I went to the Glimmerglass Opera a few weeks ago, I ran into an old friend—Carleton Clay, principal trumpet in the Glimmerglass Orchestra, and also a composer and music professor at the State University of New York College at Oneonta. He’s been principal trumpet at Glimmerglass ever since the company was founded, 30 years go.
I’ve known him since a couple of years after that, when I was working for the New York State Council on the Arts. My job was to evaluate grant applications in music (I was one of four people doing that). One year we got one from the Catskill Conservatory. That was Carleton. Turned out he’d gotten a graduate degree from the Yale School of Music, gotten the Oneonta job, and, after he moved to the area (in central
Soon a conductor was attracted to the scene, Charles Schneider. He’d become music director of the Catskill,
So let’s hear it for Carleton. And how many other musicians like him are there, all over
And surely this is the place to mention Made in
So here’s to all of this. We talk too much about the major institutions (I plead guilty), and not enough about what may well be sustaining classical music in places the major institutions don’t reach.