What was your impression of PMF when you passed the audition and attended the event as an Academy member, and what do you remember the most about your time at PMF?

I remember that live auditions were held every year at the music conservatory I attended, the Curtis Institute. So many of my friends and fellow students took the audition for PMF. Also my teacher, Daniel Matsukawa, was and is a faculty member there. So there were all these connections to PMF, and it was easy for me to apply. I remember most vividly the experience of listening to and getting to play with the outstanding faculty. I think that’s a unique element of PMF, especially the fact they get faculty and artists from America, Europe, and Asia. That exposed me to many different styles of playing. I got to play Johann Strauss with players from Vienna, as well as Stravinsky Pulcinella with American faculty. And of course, getting to share great music, food, and conversation with inspiring peers.

A quarter-century after the founding of PMF in 1990, there are now around 3,500 alumni worldwide. What impact does PMF have on your current musical life?

I made some lasting connections with other students as well as faculty at PMF. It was the summer just before starting my first orchestral job with the Atlanta Symphony. I was excited yet anxious, and attending PMF helped me gain more experience playing orchestral and chamber music, and learn by example from the seasoned professionals there.

PMF will continue to foster young musicians and offer the inspirational power of music to a broad, global audience, passing on founder Leonard Bernstein’s vision, contributing to the classical music culture of the world, and thereby to world peace. What kind of festival would you like to see it become?

I would love to see PMF’s digital presence continue to expand; live streams of concerts, recitals, and otherwise. I think people all over the world would be eager for this, and I think it’s important for any arts organization in our increasingly digital age. In addition, I think it would be great to see masterclasses held by the faculty artists. Again, I think students and musicians all over are always eager for this kind of information and education.

Keith Buncke, bassoon
Keith Buncke began his tenure as principal bassoon of the Chicago Symphony Orchestra in July 2015, having been appointed by Music Director Riccardo Muti. He previously served as principal bassoon with the Atlanta Symphony Orchestra, a post to which he was appointed in 2014 while still attending the Curtis Institute of Music.

At the age of eleven, Keith Buncke heard a recording of Bach’s Brandenburg Concerto no. 1, with prominent parts for the oboe and bassoon, and was immediately struck by the sound of the double-reed instruments, favoring the bassoon in the end. Growing up in Portland, Oregon, he went on to study at the Interlochen Arts Academy. His major teachers include Daniel Matsukawa, Dr. Eric Stomberg, Mark Eubanks, and Lyle Dockendorff. He was a fellow at the Tanglewood Music Festival and has participated in the Pacific Music Festival, as well as the Marlboro, La Jolla, and Sarasota festivals, and the Music Academy of the West. He has also taught and given master classes at Aspen, Interlochen, and is an adjunct faculty at DePaul University.

Other interests
I love connecting with nature whenever I can. I think that was one great aspect of spending time in a beautiful place like Sapporo. Growing up in the Pacific Northwest, skiing is one of my favorite activities ever. Hiking is also one of my favorites. On a more regular basis I enjoy working out, hot yoga, and other things that help me feel like a human! I also try to stay intellectually curious, musically and otherwise.