Eastman School of Music - Score Yearbook (Rochester, NY)

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44 gf 2 NX Alec Wilder, juan Orrego-Salas, Verne Reynolds. The Chamber Orchestra concert of three world premieres on December 11, 1971, was, needless to say, a disaster. The orchestra members, emo- tionally drained by the tragedy of Chief's death, agreed to continue with the concert even with the knowledge that the rehearsals had been going poorly and Mr. I-lendl was still having trouble with the scores. However, the dress rehearsal went amazingly well and the orchestra had hopes of a good performance for the critics. The old adage A BAD DRESS REHEARSAL MEANS A GOOD CONCERT worked in reverse this day. After the Diamond orchestra walked off shaking, the Salas performers took their places, saved from the same fate only by the fact that the piece was in short variations. The Wilder didn't go much better but Mr. Reynolds played well in spite of the conductor. When some errant ap- plause followed the third movement of the five movement piece, a well-known critic was over- heard to say, You mean there's more? . A' 9 Nb- Q -.rs 1 1 F It' Tift? . ,M Q

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The Ethics of Music Criticism Almost the only thing we all agreed upon, 2:13 Paul Hume pointed out, was the necessity of a love for music. I asked several students at the close of the symposium what they had thought of it. It's the most exciting thing that's happened here since I came to Eastman. said one. That indeed says something for the symposium - but maybe it also says something about the current state of music education. The critic must understand something about the economics of music. No less a figure than George Bernard Shaw made a great point of this. 'It is one thing,' he said, 'to set up an ideal of perfection and complain as long as it is not reachedp but to blame individuals for not reach- ing it when it is economically unattainableg in- stead of blaming the conditions which make it unattainable: or to blame the wrong person - for instance, to blame the artist when the fault is the publicls - is to destroy half your influence as a critic. All the counterpoint of literary brilliance in the world will not save the critic from blunders of this kind, unless he understands the economics ot art. james Goodfriend - Stereo Review Vfteeaf lrll F f Alec Vt Th premi to sa' tional agree knov poor. with went of a adagi GOO Aftei the 5 from was muc Spite plau m0V hear

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.I 1 .f J ,' ' ' , w' .ro . , ' ' if That man who has lived well, laughed often and loved muchg who has gained the respect of intelligent men and the love of childrenp who has filled his niche and accomplished his taskg who leaves the world better than he found it, whether by an im- proved rose, a perfect poem, or a rescued soulg who never lacked appreciation of earth's beauty or tailed to express itp who looked for the best in others and ave 'wb 3 the best he had. I-Iis memory is a benedictionf' EULO GIVE? in DECE ffl H and 56 made' again. ch6Sfft conduf anythi not mi Of l own Y most l the YQ great 1 guishf friend Perl the an tainly dents tions Unite it tha secret