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Well again I detect a really kind of a supreme optimism in what you say. I would hope that all composers share this. Fate. In. Fellow human beings in their ability to appreciate the kind of composition. That. You know that is being turned out here today in our time. And with this kind of optimism. Hearing you say it sounds you know very secure and very well based and yet all across the country concert halls are empty and composers are looking for an audience that is there. Am I misreading something here or. How do you how do you answer a critic with this sort of attack. Well first of all it's necessary to get the facts straight concert halls. Many of them are emptying but they're emptying because the programs offered in them are all of Dead music.
There's no earthly reason why people should go back over and over again to hear the same tiny restricted repertoire and they're not doing it I don't blame them a bit nice for that. As for the facts consider for example the situation in Columbia where I teach and where I operate a series of contemporary concerts with my colleague Harvey Solberg are there and we are now and are leading our seventh season. There we have noticed over the past years and very encouraging and quite unsolicited increase in the size of our audience so that whereas a few years ago it was normal to expect two three four hundred people we are now. We now expect between 500 and a thousand of these programs and this this condition is repeated all over the country it's a question of what people are offered as long as they're offered the same old fare which they can get a hundred times over on records. They won't they won't bother with concert programs another is another point that needs to be made in this connection and that is that it's quite possible on this I would regret to
see that it will have to be faces quite possible that the giving of concerts is no longer particularly relevant way of disseminating music it may all have to virtually all have to be done by records. And until we can see that situation a little more clearly it's. It's necessary to reserve judgment but I don't I don't feel the least bit disturbed in fact I think it's a healthy sign that people are refusing to hear the Beethoven sonatas for the 10 millionth time now. I did want to respond to your your generous estimate of my optimism. The moment before to say only one thing I do have. Profound faith in the capacity of people when they're given a chance to make the right judgment. But I also would like to think of that that I have a realistic and. Realistic judgment of the dangers. Of people inherent in people not getting a chance in other words it just because people have the capacity to do certain things respond certain in certain ways does not mean that they're going to be
able so to respond or so to do unless obstructions are removed from them. The entrenched irrelevant musical establishment that we're a music disk distributing establishment that hinders our efforts to communicate with our public so seriously may very well succeed in driving them away completely. For example I know that in one organization that used to specialize in booking of concerts into universities a stock that altogether because. On university campuses throughout the country increasingly increasingly funds for cancer giving are being turned over to students. Who mostly. Engage rock groups and the like. And why do they do this because for them the choice is simply between a rock group which may be rather stimulating the short range sense and another tired pianist coming to play more tired Chopin Beethoven. I am quite convinced that were they aware of alternate possibilities at least some of the rock concerts would
be contemporary musical events instead. And if they can be reached and informed I'm quite convinced this will be the case. But it's an it's a toss up whether they will be or not. Well we're talking about serious composers and very serious audiences. And. Well. As I say this this kind of optimism is is very encouraging. As you say only time will tell whether. The distributors will be successful in this kind of. Blockage. But the paths that that will lead to the sort of communication I should think would come through the efforts of people like yourself. And as a serious musician I want to thank you very much for making these efforts and we look forward to hearing your concerto for flute and 10 players on the conclusion of the program. Thank you very much Mr. Warren. Thank you. We returned to the Jordan Hall stage for the final portion of tonight's concert. Which will begin with
Alexander girs piano trio. Originally commissioned by Maurice your hoodie and hats of a monument and given its first performance at the bath festival in 1066. Tonight's performers all members of the New England Conservatory faculty are. Eric Rosen Steve Gaber cello and Victor Rosenbaum. Piano. And here they are now appearing on the Jordan Hall stage to perform Alexander piano trio. Thank you.
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Why. Thank you. Thank thank. Piano Trio by Alexander. Good. Performance by every close in the file name. Stephen gave her. Cello. Victor Rosen ROM. You. And these three artists. Are being recalled. RUSTY. Old tonight. 66. Piano Trio. Alexander goods join the artist. Joining us today.
And once again you're going to call. Eric Rosen left. Stephen gave her. The. ROSE. All members. By the way. Meaning the conservatory faculty. In a few moments the Including work in the store and concert the chamber concerto for 2010 players buying tires more in. The meantime your class continues. To be artists. And Alexander good. Power. Reappearing in Jordan are staged with nice people. The Chamber concerto for feud and 10 players. To be performed in a few moments was commissioned in 1964 by the from Music Foundation. For a performance on the festival of contemporary American music at Tanglewood.
Its first performance was conducted by conservatory president Gunther shooter and the soloist in this work at this time was Harvey Solberg. Tonight the flute solo part will be performed by John Heiss the ensemble consisting of Laurence Wolfe bass David Hagan piano Yasuo Watanabe harpsichord Robert Sherwood cellist Robert Sullivan guitar Phyllis Wright harp Paul Burns Linda Raymond William Wiley and Joseph Conti percussion ensemble B under the direction of Paul Sue KOSKY. Charles 1's chamber concerto for flute and 10 players. Including work on this Jordan Hall concert.
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The Chamber concerto for a few. 10 players by Charles Moore and. Composed in 1964. Informed on this joining our concert by flute soloist John Heiss. An ensemble. Of 10 players. Under the direction of powers of Caskey. All. Members. Of the faculty or student body here at the conservatory with the exception of the harvest guest. Artist Phyllis Wright. Other members of the ensemble Laurence war bass David Hagen piano. Just who or what an R.V. harpsichord Robert Scheer would tell Lester. Robert Sullivan guitar. Paul Burns in the rain and William Wiley and Joseph County were crushed.
The applause continues and the ensemble once again is reassembling itself on the Jordan Hall stage. The composer of course is in the audience and is being recognized. By the ensemble. Once again here's John Heiss theme song list. I was across the. Conductor of the ensemble. Returning to the Jordan Hall stage. Recognizing trials morning. And. The. Composer of the piece in the audience. And with this work we come to the conclusion of the program featuring the music of Alexander go and Charles Warren and presented by faculty and students of the New England Conservatory.
Earlier on the program we heard making ends meet. Work for piano four hands composing one thousand sixty six by Charles Warren. Following this two works by Alexander go the British composer. Also artist in residence here at the conservatory. Three pieces for piano overs 18. And piano trio. Tonight's concert was tape recorded here in Jordan on Wednesday evening May 21st. And made available for delayed broadcast over the stations so the facilities at WGBH FM in Boston. Tonight's engineer was WM music and this is Robert thanking you for being with us for another concert from the New England Conservatory of Music. It has been our pleasure to present to you this series of concerts from the New England Conservatory of Music. As president of the conservatory. I sincerely hope you have enjoyed these performances. I wish to thank Robert Bailey and station WGBH. Without whose help the presentation of the series would not have
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New England Conservatory
Episode Number
#6 (Reel 2)
Contributing Organization
University of Maryland (College Park, Maryland)
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University of Maryland
Identifier: 70-SUPPL (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:49:40
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Chicago: “New England Conservatory; #6 (Reel 2),” University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed August 9, 2022,
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APA: New England Conservatory; #6 (Reel 2). Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from