By Rick Koster, Day Staff Writer | 6.6.25

Charles Wadsworth, the much-loved pianist whose vision and passion launched numerous renowned chamber music series including New York City’s Chamber Music Society of Lincoln Center, the Spoleto Festivals in Italy and Charleston, S.C., and Musical Masterworks in Old Lyme, died May 30 in New York City. He was 96.

Wadsworth, a Georgia native, not only founded these organizations, but also served as creative director and host, and his clever mix of repertoire with newer material and under-known composers was only equaled by his onstage wit and anecdotal charm.

“(My husband) Jamie and I got to know Charles at first through visits to the Spoleto Festival in Charleston,” Musical Masterworks president Alden Murphy said in a statement Thursday. “It was there we first witnessed his slightly wacky and fully informed verbal ‘program notes.’ Because the chamber music Midday Concerts were performed every day at noon, Charles and the musicians often didn’t decide until that morning what they would play.

“So Charles came onstage often with his notes literally scribbled on a napkin from breakfast. He charmed those audiences; charmed all of us in Old Lyme with the same style. … It was a surprise and delight for Jamie and me, and our Musical Masterworks co-founders John Hargraves and David Dangremond, when Charles said yes to our offer to become artistic director to our young series.”

Wadsworth accepted the opportunity to run the chamber music concert series in 1991 and held the position until 2009. Under his stewardship, the series rapidly gained a national reputation, thanks in no small part to Wadsworth’s many virtuoso friends as well as a regional audience that, as he was fond of saying in mid-concert remarks and press interviews, was extremely informed and appreciative.

When it was time for Wadsworth to retire, he had the prescience to hand-pick his successor, the cellist Edward Arron, who served a sort of Masterworks apprenticeship for two years and was subsequently artistic director until 2022.

On Thursday, Arron said, “I was a kid whose obsession growing up was literally chamber music, and Charles was a hero from a distance because he was this incredible advocate for the art form, and he was so charming. I got to see him at the Chamber Society when I was little, so here was this person who actually fit into the mold of a hero for me.”

As Arron’s career took off and he began to cross paths more and more with Wadsworth, he said, “We began to realize we were kindred spirits. I was so honored he brought me into the fold as his friend, and fortunate he recognized in me, I guess, a curatorial aspect — so much so that he asked me to assist him in his final years at Musical Masterworks. What an amazing dream come true.”

Arron described Wadsworth’s habit, in those final two seasons in Old Lyme, of introducing a performance by saying, “You know, at my age, so may people have told me I’m a legend that I’m starting to believe it might be true.”

After the laughter and applause died down, Wadsworth would point to Arron standing next to him and add, “And this is my associate legend.”

In numerous reviews or articles over the years, writers and critics continually made the point that Wadsworth never lost or wanted to lose his Southern manners and humor.

In an inaugural interview with Wadsworth, this reporter apologetically acknowledged a layperson’s limited familiarity with chamber music. Wadsworth quickly brushed that aside and, noting the similar accents — Georgia and Texas — instigated a relaxed conversation about great southern music, humidity and cooking.

Since Wadsworth’s death, Arron said he’d spent a lot of time reflecting on the innovations his mentor made to chamber music. “Charles brought the art form out of that narrow path of just string quartets or the occasional piano trio. He unearthed so many treasures of musical composition spanning 400 years, and came up with so many combinations and lively programs — all of which he could describe in ways that utterly disarmed audiences.

“And Charles was the ultimate chamber musician at heart. By that I mean he was a great colleague. To him, music was ageless. It didn’t matter how young or old you were, if you played chamber music, he gave you his respect and you’d walk away realizing he’d magically given you the gift of his wisdom and friendship.”

Murphy said, “Beginning with Charles (at Musical Masterworks), we’ve seen three generations of musicians grace our stage, including three generations of stellar artistic directors. We’re so grateful for the gifts he brought to our community and our region.”