and make it available. She would complain. All we would always charge her with
 was the direct labor costs, no overhead, no nothing, and she would complain about
 it, and want to pay less than the cost, claiming that we did not do it efficiently
 enough and fight every nickel. Every nickel she spent, she fought to try to save it.

S: Against Rollins.

T: Yes. Which was very interesting, but that was that.

S: So although the Bach Festival has been housed at Rollins and some of the people,
 personnel, overlap, it is a separate institution.

T: Oh, yes. The idea was conceived by her because she thought the setting in the
 Knowles Memorial Chapel was so good. It was the setting in the chapel that gave
 her the idea of starting it.

S: It is maintained separately though in a financial way.

T: Oh, yes, absolutely a separate organization. It simply performs in the college; it is
 a separate organization.

S: I could see how a good performing organization might act like a football team in
 raising money for a school, though, if it were connected.

T: Well, everything loses money. It runs a deficit that has to be made up. The college
 runs a deficit.

S: Oh, I was just dreaming.

T: Everything runs deficits.

S: Well, tell me a few memorable performances throughout the years that were
 favorites of yours.

T: Oh, in the festival?

S: Yes.

T: Oh, well, I think the B Minor Mass is one of the greatest pieces of music ever
 written, and I think our performances of that, and the St. Matthew Passion, as far as
 Bach goes, [are best]. As far as our non-Bach work goes, I think the Verdi Requiem,
 is about the most dramatic and beautiful piece of music we have played. We do that
 every few years because it is a great thing. My main interest would be the passions
 and the B Minor [Mass]; they are the great Bach works. You have played in them.

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