DAME MYRA HESS STORIES
A conversation with Cathy Basrak, Assistant Principal Viola, Boston Symphony Orchestra; Principal Viola, Boston Pops Orchestra / Anne Stoneman chair, endowed in perpetuity
Every young musician wants the opportunity to perform and share stories.
My memory of the Hess goes back to my high school years, in the 90’s. The thing that stood out most to me then was the space. I had grown up in the suburbs of Chicago and didn’t know that kind of performance space existed for live radio. When I was introduced to the space and the grandeur of the area, it was quite a lovely surprise. [Preston Bradley Hall] provided such a great acoustic setting!
Renowned cellist Amit Peled spoke with the International Music Foundation
He shared some wonderful stories about his experience with the Hess series and the thrill of playing Pablo Casals’ Gofriller cello.
What is so beautiful about my experience with the Hess series is that through the series I grew up both as a cellist and as a human being. For quite a while, once a year, I had this legendary experience. I was very young and inexperienced when I began, and the pieces that I played became bigger, harder and more ambitious. I also began to attract a regular crowd–that was really amazing.
A story by Oscar Crawford, audience member, Dame Myra Hess Concerts
It was as if she simply waved her hands above the keyboard and the piano spoke.
Well, it began–let’s see around 1940, when I first started studying the piano and listened to recordings by Dame Myra Hess—though at that time, she was just Myra Hess—on the local Youngstown Ohio radio station. She was an inspiration from the very first time I heard her.