“Princeton’s New Home for the Arts” (cover story, Oct. 25) elicited a remembrance of things past for me. Arriving on campus in 1952, I quickly discovered a world-class music faculty of composers, musicologists, performers, and theorists. How that all materialized without any decent music facilities — no dedicated classrooms, practice rooms, or performance arenas — astounds me to this day. At least Carl Weinrich, the famous Bach organ interpreter, had the University Chapel at his disposal.
Although a philosophy major, I managed to perform a senior vocal recital in a nondescript classroom with Robert P. Morgan ’56 *69 as my accompanist. Bob, who was to become a celebrated musicologist, was then a talented arranger and colleague on the Princeton Nassoons. Wonderful creative things happen with the right people, and I hope that this impressive “neighborhood” will cultivate a new renaissance for the performing arts at Princeton.
“Princeton’s New Home for the Arts” (cover story, Oct. 25) elicited a remembrance of things past for me. Arriving on campus in 1952, I quickly discovered a world-class music faculty of composers, musicologists, performers, and theorists. How that all materialized without any decent music facilities — no dedicated classrooms, practice rooms, or performance arenas — astounds me to this day. At least Carl Weinrich, the famous Bach organ interpreter, had the University Chapel at his disposal.
Although a philosophy major, I managed to perform a senior vocal recital in a nondescript classroom with Robert P. Morgan ’56 *69 as my accompanist. Bob, who was to become a celebrated musicologist, was then a talented arranger and colleague on the Princeton Nassoons. Wonderful creative things happen with the right people, and I hope that this impressive “neighborhood” will cultivate a new renaissance for the performing arts at Princeton.