Irene (as she was called once she came to America) loved the ocean and proved a strong swimmer. She was also an attraction for many of the adolescent male music students, much to the concern of her mother, Lea, and her grandmother, Katherine (Gitel).

Lea’s house in Maine she named Mary-Lea Cottage in honor of her friendship with Mrs. Mary Curtis Bok.  With a spectacular view of the harbor and a large room for music making, Lea could not part with it once the Curtis Institute decided to end the summer music colony due to its heavy expense in 1945.  With the help of her son-in-law, Lea purchased the property from the School and, upon her death, it was inherited by Irene.

Lea did not anticipate that she would find a husband for Irene when her daughter was only fifteen. But she was not about to let Billy Wolf slip away. He came from an established Jewish family in Philadelphia and was wealthy enough that he could afford to go fox hunting on weekends and ensure that Irene would be well cared for. Billy promised Irene that he would provide her with the six children she desired (three boys and three girls) and in time the promise was kept.

The great pianist, Josef Hofmann, was the Director of the Curtis Institute who hired Lea and became her recital partner and, most likely, her lover.  He was disparaging about Boris’s ability as a pianist and would only accept Lea’s son as a Curtis student if he specialized in conducting.  Though initially a great disappointment for Boris, who had anticipated a major career as a pianist, it turned out to be a blessing.  Working under the esteemed Fritz Reiner, Boris not only learned the conductor’s craft but also began specializing in directing and producing opera, eventually heading the opera department at Curtis.

While in Paris, Pierre became the piano teacher of Genia Nemenoff.  The two fell in love, eventually married, and moved to the United States.  Soon thereafter, they formed the duo-piano team, Luboshutz & Nemenoff, and became more famous than Lea.

Pierre, Genia, and Lea all appeared with the Philadelphia Orchestra under Music Director Eugene Ormandy.  All of them enjoyed a relaxing moment at Lea’s house in Maine joined by Mrs. Ormandy.

Mrs. Bok purchased and renovated Captain Eels’ Boat Barn in Rockport for concerts. In this photograph at a post-concert reception, Lea is speaking with Jascha Brodsky, first violinist of the Curtis Quartet. Harpist Carlos Salzedo stands to her left. Other quartet members (violist Max Aronoff and cellist Orlando Cole) can be identified by the bows they hold in their hands. Pianist Vladimir Sokoloff, with mustache, stands to the right of the photo. (Courtesy Curtis Institute of Music Archive)

Boris was invited to teach at the Berkshire Music Center (Tanglewood) by Serge Koussevitzky in 1940 and became head of the Opera Department soon after. Here he is seen planning the premiere of Leonard Bernstein’s opera “Trouble in Tahiti” with the composer, Boris’ assistant Sarah Caldwell, and Seymour Lipkin (in the pit).

Lea learned to drive in Maine and soon after purchased her first car.  In time she was able to drive the round trip between Philadelphia and Maine, much to the concern of her daughter Irene.

In 1945, at age 60, Lea still had the elegant deportment for which she was famous. According to the reviewers, she was still at the top of her form. According to her students, she still had “her chops.”

Near the end of her life, Lea and Pierre’s mother, Katherine (Gitel), could feel great satisfaction that her aspirations for her children had been realized.  Her summers in Maine were relaxing and fun — especially the evening poker games with various Curtis musicians.  By this time everyone called her “Babushka.” In this photo (left to right) are Pierre, Babushka, Lea, and Genia (Pierre’s wife).

Lea and Boris began to grow apart after his marriage in 1933.  Lea often second-guessed Boris’ career choices and regularly criticized his wife, Margaret.  Boris was careful to remain a loving son but did so from a distance (it helped that he lived in Boston and Lea in Philadelphia).  One thing that helped keep them close were occasional joint recitals which Boris, now increasingly famous, could arrange whenever he wanted.

Lea had success teaching women as well as men.  One of her successful female students was Ethel Stark who co-founded and led an orchestra made up entirely of women — the Montreal Women’s Symphony Orchestra — that was invited to perform at Carnegie Hall. This photo was taken when Lea, second from left, performed with the group. Ethel is third from the left.

Throughout her summers in Rockport, Maine, Lea made a point of playing benefit concerts for local organizations.  This practice continued after her retirement including a 1951 benefit to raise money for a new flagstone fireplace in the main meeting room of the Rockport Boat Club of which she became an honorary member.

Genia Nemenoff, her husband Pierre Luboshutz, and their nephew Boris Goldovsky prepare for a tour commemorating the 200th anniversary of the birth of Mozart in 1956. For Pierre, it provided an opportunity to conduct for the first time in America.