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The Oneonta Star in July 1970 ran a full-page feature entitled:

"Music Camp: nothing but play (music) all day long."

Seven of Emet Blum's photographs show nine campers performing music - seven instrumentalists, one vocalist, and one student conductor. The upper left picture is of three French horn players, one of whom is Dr. Swift's younger daughter Deborah, who would herself serve as Camp Director one day.

The text is written by Jim Flateau.

If a satisfaction survey were administered to students who take part in the summer programs, the results would be very high. Indeed an unofficial poll is taken each year. One need only note the high number of students who return for a second, third, fourth, or even more summers. This continues right down to the 1996 season.

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Beginning in 1970 the weekend concerts were performed in Slade Auditorium. Classes and lessons and some rehearsals continued to be held in the Arts Building (a.k.a. cardboard alley - "a rose by any other name smells ... "). Breakfast, lunch, and dinner were taken in the Commons in Dewar Hall.

Each camper at registration was provided an information packet including a personalized schedule and a summary of rules and regulations for participants in the program. Selected topics include the following.

Rooms		An inspection of rooms is made immediately following breakfast; counselors will inspect.
Firecrackers		Any camper found with firecrackers or other types of explosives outlawed by New York State is subject to immediate dismissal.
Drinking, Drugs, Dope		Any camper found drinking, or engaged in taking dope, including marijuana, will be dismissed from camp and sent home without benefit of any refund.
Manners		Your manners and social conduct toward others reflect the training you have received at home.
Rest Period		Each year a few campers get involved in too many activities and get tired out. Plans [sic] to rest each day. Take it easy. Relax.
Writing Home		Your parents would like to hear from you. Get in the habit of writing every couple of days. Send along copies of the programs which are presented.2

Rules were strictly enforced. It was not uncommon for one or two campers to be sent home each summer because of breaking some rule. The most common infraction was related to using drugs, but occasionally there would be other serious circumstances.

* * *

In 1970 several female campers lodged complaints against a male camper from Long Island who was verbally harassing them. The boy was reprimanded, but after a time the problem recurred and worsened. He was sent home. His parents were called and advised to arrive within 24 hours to remove him and his belongings.

The incident did not conclude with his departure. Toward the end of the season Dr. Swift and Mr. Brown [Assistant to the Director] and one of the female campers began to receive anonymous threats through the mail. After reporting this to postal authorities, Dr. Swift was advised that nothing could be done. The postmark was New York City and could not be traced any further than that.

"Your father and Tom were very concerned about their own safety and that of other campers," explained his wife, Norma W. Swift. "They finally proved that it was ____ [the dismissed boy]. He had taken Tom's class, and handwriting from written assignments matched that in the letters."3 The police took appropriate action, and the threats ended. Later the young man was institutionalized to receive help for other behavioral problems.

As a result of the 1952 tragedy resulting from a camper's failing to abide by rules, Dr. Swift insisted that they be observed and enforced. Through the years the music camp developed a reputation for strict adherence to them - a reputation appreciated by the vast majority of parents who sent their children to Oneonta for enrollment of one to six weeks.

One explanation for having so few disciplinary problems was the very full schedule of activities for each student. The administration and staff realized that if campers were kept busy, there would not be idle time for mischief or homesickness.

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The 1971 season was the 25th anniversary. Classes now numbered eight: Junior Theory, Part-Time Theory [for those attending less than the full six weeks], Theory, Harmony, General Music I, Conducting, Appreciation & Humanities, and Composition/Arranging.

For many years Thursday of the final week was devoted to recording sessions. Clark Galehouse of Crest Records, Huntington Station, Long Island, arrived usually around 6:30 a.m. to set up his recording equipment in Slade Auditorium. The sessions began at 9:00 a.m. with each ensemble allotted only enough time to record its chosen selections. Rehearsals were not encouraged and, as had been the case at Otter Lake with WIBX Radio recording sessions, Dr. Swift was a severe task-master in keeping conductors on schedule. Still today the music on the recordings testifies to the high caliber of performances. This is made all the more remarkable considering that most of the music had been learned in just a week's time. (Some conductors would select music from the 5th week for the recordings.)

The 25th anniversary LP recording included sixteen selections by six major ensembles. One from each is listed here.4

Select Choir		" Ole Moses Put Pharaoh in His Place," arr. Ringwald
Girls Choir		"Snow Legend," Clokey
Concert Choir		"Let All the Angels of God Worship Him," Handel
Jazz Ensemble		"Quiet Nights and Quiet Stars," Jobim-Osser
Orchestra		"Gayane Ballet," Khachaturian-Frank
Concert Band		"Overture in Bb," Giovannini

The Final Concert of 1971 began at 7:30 p.m. Friday, August 13. The program, in order, was: Girls Choir, Nancy S. Sprague, conductor, Robert Swift, pianist; Select Choir, Frederic Fay Swift, conductor, Alan Steinberger, pianist; Orchestra, Anthony J. Messina, conductor; Stage Band, Thomas A. Brown, conductor; Concert Band, Thomas A. Brown, conductor; Awarding of scholarships and grants, Dr. Swift and Mr. Brown; Concert Choir, Robert F. Swift, conductor, Alan Steinberger, pianist.5

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One of the few constants which extend back to the earliest years at Otter Lake is the Wednesday evening Student Recital.

Low strings on a high stairway.

Thousands of young people down through the years have been featured in solos and ensembles. Just about every instrument has been played, including harpsichord, accordion, organ, harp, even the Theremin, an unusual electronic instrument named after its Russian inventor, Lev Theremin, who was born 100 years ago in St. Petersburg in 1896. Dr. Joseph Saetveit demonstrated it at an Otter Lake recital.

What instruments have not been featured? Harmonica, and possibly banjo. Bagpipes were heard once in the recital hall and, for that matter, within a ten-mile radius of it.

Selected references to Student Recitals include the following.

It was the time for original compositions and arrangements to be given their world premieres, specifically those of D. Swift, J. Greenhouse, J. Lee, A. Dietz, A. Steinberger, and J. Levine.6

At the next recital we were overwhelmed with a majority of flute soloists and a fine vocal solo by Deborah Deyo.7 Now in the final week I look forward to 5 remaining recitals. The faculty recital, conducting recital, students recital, counselors recital, and the organ recital of Jennifer Lester, and the final student recital will complete the series of fine performances this summer.8 The fifth recital was in threes: First came a breathtaking performance of a horn trio by Dave Soto, Laura Newman, and Paula Worthington (ed. Soto).9

The 1982 season began with the first week recital in Anderson Center for the Arts. Eight performers are listed on the program: solos on piano, horn, guitar, another pianist, vocal; two duets, and a trombone choir performing "Sacred Head Now Wounded" by Bach.10 (The final Camper Recital that year included 14 performances and started at 7:30 to accommodate the increased number. Included on it was a harp duet played by Valerie Arthofer and Anna Kate Mackle. One notes that the tradition of marathon concerts during the final week also is a Camp/Festival tradition.)

The recital printed program included the name and location of the Camp, the number of the season with dates (35th Season, June 28- August 8, 1981), the number of program for that particular season (35-20), and the date and time (July 22, 1981, 8 o'clock).

Dr. Swift felt that this provided greater recognition for the campers and also illustrated the diversity of the camp program by giving hometowns. Names of accompanists were listed separately at the end, followed by information on the following weekend concerts, including performing organizations and conductors.

~ From Dr. Bob's Personal Memories ~ So many personal memories of recitals come to mind! I recall my first public performance as an adolescent baritone of the Eb above middle C in "My Lovely Celia" by George Munro. Dr. Cavallo, voice teacher at Otter Lake and then Oneonta, gave me the skills and self-confidence to succeed. I remember everyone's being so impressed with 9-year old Conrad Strasser at his first piano performance. The solo was Debussy's "Dr. Gradus ad Parnassum." The small boy walked briskly to the piano, acknowledged applause equally as fast, hopped onto the bench - literally, and plunged into the solo. His legs were so short that his feet didn't touch the floor. At the conclusion none of us could believe what we had heard, and my dad publicly commended him and asked that he repeat the solo at the Sunday afternoon concert the following weekend. Of recent years the solo performances in the Anderson Center for the Arts are at times so well executed as to electrify the audience into an instantaneous standing ovation.

The humorous recollections have a distinct beauty of their own.

~ From Dr. Bob's Personal Memories ~ Roger N. signed up for a solo before the days of auditions for recitals. He was to play "Theme from Exodus" on his clarinet, which the Band was also performing that week. He did play it, the 3rd clarinet part, afterbeats and measures of rest included for no extra charge. Art K. was an older counselor, a war vet, and a superb baritone. He selected Handel's "Honor and Arms" from Samson with its fairly difficult accompaniment. Pianist George S. began well enough but lost his hand positioning in the typical Handelian "busyness" as Conrad often described it. I remember Art's turning, staring, and bursting out in laughter. He never did collect his composure even after two additional tries, and the solo was never sung. And then there is that unforgettable cello solo - I do not recall the 9th grade girl's name nor even the year, and it may be just as well. Out she walked onto the stage with cello in one hand and music in the other but with steps that were small and awkward, the result of wearing the size 8 short skirt when obviously she belonged in a 10, or even a 12. The audience audibly gasped - the faculty in disbelief, the girl campers in amazement, I guess, and the boys in anticipation. Somehow she managed to straddle the instrument and play the solo. I do not recall the composer, title, or one note. What I do remember was the tumultuous applause ...

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The counseling staff provided the special care and attention needed in working with so many young people first away from home for an extended time. In the earliest days the counselors numbered seven. There were two for each of the two floors where the girls had rooms in the Otter Lake Hotel, and one for each of the three cabins which housed the male campers (Cabin I, II, and IV with Cabin III reserved for male faculty). The 1995 Festival lists 39 counselors plus an additional 31 Counselors-in-Training.

It goes without saying that the counselors are among the most hard-working of all the employees in the summer program. Responsibilities assigned them make the twelve labors of Hercules pale by comparison - though comparisons may be drawn. For him to locate and return the stag to Eurystheus has certain similarities to finding and returning errant campers to their rooms after hours. The post-camp cleaning of the dormitories after the campers departed brings to mind certain aspects of his cleansing the Augean stables.

Responsibilities are far too numerous to list in their entirety, but here are some.

* * *

Selection of counselors in early years depended upon acquaintance with the Camp Director or other top administrators. Counselors had to be graduates of high school with demonstrated skills as instrumentalist or vocalist, preferably both.

With passing years a natural progression developed. Campers who returned for three or more seasons and who had demonstrated good musicianship and leadership skills were invited before their senior year to serve as junior counselors and then salaried full counselors after high school graduation. This practice assured not only familiarity with camp philosophy and rules but also the tradition of mutual caring and a "passing of the torch" from one season to the next. One senses it particularly in the annual performance of "The Old Irish Blessing." Each summer sees a remarkable number of returning students. The only season which had a totally new group of students was that of 1947.

* * *

Training of the counseling staff at first was hit or miss. College students with practically no training assumed responsibility for guiding their young charges. If the counselors had themselves come through the program, all the better. More serious disciplinary problems were handled by administrators who oversaw the counselors Tom Brown, Fred and Mabel Clinnick, Robert Oliver, Jean and Joe Thurner, and Ethel Todd served effectively in this capacity. And, of course, Dr. Swift would himself step in if any camper (or counselor) were sent home.

By the early 1980's, however, the societal demands on the counseling staff who were in effect serving in loco parentis became so heavy that a system was developed which added a high degree of professionalism to the program.

Think of what was happening in the country in the late 60's and 70's with gender and race issues, and wars around the world, and assassinations here at home, and families breaking up! Students brought heavy loads with them to camp. I remember one girl being told while in Oneonta that her parents were separating that summer, and she needed to choose which one to go home to afterwards.11

Beginning in 1977 the Counselor Orientation sessions were extended to four days prior to the arrival of the campers.

My biggest contribution, I think, was the ten years of Counselor Training Workshops ('73 -'83). Paraprofessional skills were taught in listening, responding, counseling, communicating, emerging procedures and situations where role-playing based on actual occurrences were conducted ... The world gave our staff heavy-duty problems to deal with. And the staff was prepared!12

The continuing success of the Camp/Festival to the present day is due in large part to the work of the counselors. Each of the directors has affirmed this. From the beginning the counselors defined by their actions and examples the caring and sense of community that every student needs. The counselors have also provided some of the finest musical contributions.

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Before turning to 1984 a few additional items from this era need to be noted. During two summers the Camp returned to an extended season of seven weeks. The years were 1976 and 1977. In 1978 the six-week format was reestablished and remains to this day. Although a seven-week plan was considered for the 1996 program, the 50th season, the adding of an additional week interfered with College activities in preparing for the fall term.

Helen Parham

For the national bicentennial celebration of 1976, two works were especially commissioned from two alumni, later faculty of the Camp. Thomas Brown's Echoes '76 for Concert Band was premiered that summer, as was Robert Swift's Happy Birthday, America for Concert Choir and Orchestra.

The text for the latter was written by Helen Parham, an older camper who attended from 1967 to 1981. She was one of the most creative, unique, and positive individuals, whose Christian Science faith was evident in all she gave to others.

Happy Birthday, America! Today We Bring our Gift to You. What Shall It Be? Not a slogan - You don't need that For you know what you are and what your destiny is. Nor tired, worn clichŽs and high-falutin' words - You'll fall asleep, America, listening to those. And it's not a gadget we're bringing you, Exploiting your Natal Day, Because you're too deep to take delight in shallow gimmickry. No, dear America, our gift to you is our Pledge of Dedication That what you were born to be shall evermore remain and flourish That the American Dream may be more than a Dream. It Shall Be A Reality! 13

During this 15 season period in the history of the music camp there were two other directors, although Dr. Swift always retained the title Senior Camp Director. Thomas A. Brown had served as Assistant Camp Director since days at Delhi. In 1977 he became Camp Director. A demanding conductor and teacher, his contributions to the program cannot be overestimated, and he is mentioned often in the letters from camp alumni who attended during his many years of service. The 1977 Hi Note includes a section of "Noteworthy Notes" which, we can assume, were direct quotations from his rehearsals.

Mr. Brown left NYSMC to found and direct Eastern United States Music Camp, a 2-4 week program operating very successfully on the Colgate University campus in Hamilton, New York.

~ From Dr. Bob's Personal Memories ~ It was the author's pleasure to be invited to serve as choral conductor and faculty at EUSMC during Summer 1995. The underlying philosophy and dedication to high musical standards parallel those of NYSMC. This comes as no surprise as Mr. Brown had been a camper at Otter Lake and active as an administrator for so many years in Oneonta and Delhi. With his wife Grace assisting him, the program provides a strong summer music program for students from 10-19 years of age.

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Deborah Fae Swift attended music camp as a camper from 1962-68, a counselor or dorm coordinator from 1969-79, and a member of the faculty from 1972-83. From 1977-81 she served as Associate Camp Director, and she became Director for the 1982 and 1983 seasons. In 1985 she founded Encore Music Camp of Pennsylvania, which also continues to thrive in Wilkes-Barre. In addition to many similarities to its progenitor (NYSMC), the Encore Camp placed early emphasis on musical theatre with some very successful results.

Deborah Swift (right) posing with the 1979 Select Choir

Now serving as Associate Director of the South Wedge Planning Committee in Rochester, New York, and Minister of Music and Parish Associate at Calvary St. Andrew's Church in that city, Deb attributes much of her musical and administrative successes to what she learned summers at music camp. Following is an edited transcription of a phone interview conducted January 10, 1996.

RS: How were you prepared to meet all the responsibilities of serving as Camp Director? You don't learn them in a book. DS: No, it was more a process. Dad involved me in Camp activities and decisions all the way. My ideas were welcomed and encouraged and accepted. RS: You were getting your Masters at this time, I recall. DS: Yes, in Education, with emphasis on values clarification. That fit beautifully into the counselor training program. RS: What was the "heaviest burden" of serving as Camp Director? DS: I guess if I had to choose one area it was the awareness that for however many weeks a kid attended Camp, we were serving in loco parentis. Not only did the office staff have to realize that, but we had to have counselors see it, too. RS: The Stephen St. John tragedy from Otter Lake has haunted all of us. DS: That's right. That occurred before I was born, but I've thought of it often. RS: What were the high points of the work? There must be some. DS: Oh, there were many. To see students succeed and to provide opportunities for them to do so - musical yes, but social, too. I recall one girl who had to be sent home one summer because of drugs. It was traumatic for her, and it was a wake- up call. She returned next summer and proved to us she was clean. Without the experience in Camp, who knows what might have been her future! RS: How do your early Camp experiences continue to provide benefits? DS: We all were taught that we could meet challenges. Learning the music each week was hard work. By the 6th week every organization was outdoing itself. But we did it. And some great friendships developed, many of which remain to this day. Also the Camp gave me a positive self-image. Today's young people have these same needs. RS: Do you think that Dad had any of these outcomes in mind during all the years he ran the program? It was really far more than a music camp. DS: You bet. That's what made it so successful. That's why so many returned year after year.

The opportunities to grow and to gain self-confidence were extended not just to campers. Many of the faculty and staff also write of them with appreciation. (See later chapters.) "I remember walking up the aisle in Yager after the Choir had finished singing to have 'Doc' give me a hug and congratulatory handshake after we finished," writes Gail Vroman Gage.15 Similarly Paul Blackburn remembers, "The Jazz Band performance at the first concert in '78 was my first time to conduct a real ensemble in a true performance." 16

The variety of music studied and performed in all ensembles far exceeded that which one would find "back home." The conducting classes provided training that hardly any of the campers could find during the school year. The sports program also was valued - volleyball, softball, swimming, tennis. Helen Parham remembers the summer when music campers in volleyball instead of saying "Rotate" to change positions used the more appropriate "Modulate!"17

Heavy-duty volleyball on a summer afternoon

Two other miscellaneous recollections need to be noted. One was the summer that lightning hit the air-conditioning unit for Yager Hall, and for most of the season rehearsals and concerts were given in similar conditions to the fleidhouse saunas of the 1960's. Another summer part of the library caught fire. Fortunately the collection was saved, but every time it rained one smelled smoke. 18

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Enrollments during the 1970-84 years were impressive.

1970	130 participants		1978	245 participants
1971	159 participants		1979	260 participants
1972	138 participants		1980	248 participants
1973	140 participants		1981	302 participants
1974	174 participants		1982	334 participants
1975	226 participants		1983	332 participants
1976	161 participants		1984	282 participants
1977	214 participants

The fall of enrollments between 1983 and 1984 was attributed to a change in the College's Publicity Director. Promotion of the summer camp suffered.

1984 was not only the title of George Orwell's bitter satire. It was also the year that Ronald Reagan was elected to his second term as U. S. President, that 3500 people died from gas poisoning at a Union Carbide plant in India, that Bruce Springstein soared to the top of pop music charts with Born in the U.S.A., that Count Basie and Truman Capote and Richard Burton died, and that the movie of Peter Schaeffer's drama Amadeus won the Oscar for best picture.

It was also the year that Dr. Frederic Fay Swift decided to retire as Director of his music camp. Now in his 77th year he felt it was time to turn over the reins to someone else. There had been some strong differences of opinion in administrative decisions between him and the College administration. Too, always a bit of a numerologist, he explained in a meeting with the 1984 staff, "Things in my life have been influenced by the number 5. This will complete 41 years as a camp director, and as you can see, 4 + 1 =5. I have no regrets. When one of the HC administration asked me what I planned to do next summer, I replied, 'Damned little.' "19

Hartwick College agreed to purchase the music camp from Dr. Swift. That was further indication for him of the rightness of his decision. Dr. Steven Zvengrowski was selected to assume the Directorship for the 1985 season. Preparations were made to pass the torch effectively and with as little interruption of the momentum of the program as possible. "The camp director next year will be Dr. Steven Zvengrowski. We are offering him every help we can. He will have a desk in the office, and after he returns from his vacation Sunday, July 8, he will be informed of all camp activities."20

* * *

The 1984 promotional brochure lists twelve performing ensembles: Concert Band, Symphonic Band, Concert Orchestra, Symphony Orchestra, Chamber Orchestra, Lab Jazz Ensemble, Jazz Ensemble, Chorale, Girls' Choir, Select Choir, Chamber Choir, and Concert Choir. Descriptions of each ensemble are provided. Facilities are listed Anderson Center for the Arts, Binder Physical Education Center, Dewar Hall, Shineman Chapel, Yager Hall.

Classes now number twelve also: General Music, Preparatory Theory, Music Theory, Beginning Harmony, Conducting, History of Music, Music Appreciation, Piano Ensembles, Part-Time Theory, Part-Time Conducting, Electronic Music, and Orchestration/Arranging. Composition lessons are taught privately. Numerous ensembles rehearse at prescribed times during the day. The sports program is cut to one hour but remains an integral part of the schedule. Students could enroll from one to six weeks.

There developed through that 1984 season an appreciation that it marked the end of an era. The Final Concert went well. There was not any huge sadness but some appropriate inspiration and appreciation for what Dad has given the world for 38 summers. Earl Deubler, Dean of the Faculty at HC, made the presentation of a mirror from the College. Steven Zvengrowski gave the scholarship awards, of which there were several. "God of Our Fathers" was a fitting conclusion, and my remarks (as in Wales) were of how music in biblical days was used as one of the highest forms of expressing gratitude.21 [I had recently returned from a choral tour of Wales.]

In years that followed Dr. Swift chose not to attend music camp concerts on campus again. He followed with interest the developments of the program and continued to be disappointed that Oneonta never fully seemed to appreciate or support the cultural treasure in its midst.

On August 3, 1989, Select Choir performed at the Oneonta Rotary Club. He was in attendance. After "Theme from Ice Castles" was dedicated to him, he stood and with emotion expressed appreciation and commendation to the singers for sharing their talent so beautifully. It was his final personal contact with the camp. He passed away on September 25.

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To what can we attribute such success? His belief in the power of music education to improve individual lives and thus to enhance the quality of life for all was matched by a vision and determination to put the belief into action, often with considerable personal investment. One of the author's great regrets in collecting reminiscences from music camp alumni - students and faculty - is that he is not here to read for himself so many tributes that are sent.

Doris Stark DeQuinze writes from Montrose, Colorado:

My music days started in 1946 with your dad. We were at Ernest Williams Camp. I was just 18 years old and very green. On this date [February 8, 1947], "Chief' passed on. My world seemed to collapse. Your dad saved the day! He wrote me to plan on attending the New York State Music Camp that next summer - as Camp Bugler and Cornet Soloist. Later several scholarships were offered me - Walter Beeler from Ithaca, Oberlin Conservatory, Dr. Frank Simon with the Cincinnati Conservatory of Music. Your dad's constant encouragement and letters continued on through 1986 - and always a Christmas card telling me Hi.22

From Steven Constantino of Woodbridge, Virginia:

The real focus of my letter is to share my deep, unending respect, admiration and love for your father. I don't know as I'll ever meet another man like him. When he hired me back as a Senior Counselor and Faculty member in the summer of 1980, I was in the process of looking for my first job. Fay's recommendation was glowing. No one before or since has ever demonstrated a caring and compassion so genuine.23

And from Dorothy Kidney Freeman, of Wallingford, Pennsylvania:

If you have never known what it is like to be homesick, you can't comprehend the feeling in your gut. It was a crucial time for me. The way your father, my mother [back home], and all the other teachers at NYSMC handled the situation enabled me to grow beyond what I otherwise would have self-limited. They connived behind my back plans to keep me extra busy (your father's letter indicates such) and I'm sure put forth TLC beyond the call of duty. It worked! That was just as important as my musical growth at NYSMC.24

* * *

Henry Adams is quoted as writing in his autobiography, The Education of Henry Adams, "A teacher affects eternity; he can never tell where his influence stops." That was inscribed in the front of a book presented to Dr. Swift at the conclusion of the 1982, thirty-sixth anniversary season.

Signs of Growth: Concert Choirs
1948 - Dr. Swift and Maurice Whitney, standing right and left in first row, conductors

Signs of Growth: Concert Choirs
c. 1968 - Robert Oliver, conductor

Signs of Growth: Concert Choirs
1979 - Nancy Cook, conductor

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Next: "New Director, New Directions: 1985 - 1996"

Dedication & Preface || Chapter 1 || Chapter 2 || Chapter 3 || Chapter 4
Chapter 5 || Chapter 6 || Chapter 7 || Chapter 8 ||

Music from the Mountains
New York State Music Camp 1947 - 1996
by Robert F. Swift