Spectacle: Mimeographed Music

Philadelphia’s newspaper critics, have not complained in print about the stagnant, unimaginative repertoire. In fact, until two years ago, the top critics from the Bulletin and the Inquirer were on the Orchestra’s payroll as authors of the weekly program notes.

But the mild-manned reviews still continue. Whenever the excellence of the musicians, the conductor or the repertoire might be questioned, the critics employ a "hands off" strategy.

Their approach to modern music is equally alarming. For years they have espoused the position that dissonant music is, by its very nature, unpleasant the ears. Some of the critics are trying to dispel this myth, but it still persists. And wherever it is voiced, it greatly lowers the chances of the readers listening to new music with honest, unprejudiced interest.

This apathy to the cause of modern music is not unique to Philadelphia. It infects to a greater or lesser degree the major orchestras of America and Europe.

And that is what makes the condition all the more acute in Philadelphia.

Until the Philadelphia Orchestra begins to give live musical expression to the avant-garde music of our time, until it opens up the entire orchestral repertoire and presents it to its audiences, it will continue to narrow its function.

Obviously, even "solid gold Cadillacs” can tarnish.