From: President <a> To: Jeffrey Epstein <[email protected]> Subject: Re: Thanks Date: Mon, 25 Mar 2013 13:59:41 +0000 The Cage concert is both a good and bad example. Check in contrast the impact of the parallel programs in the previous years on Henry Cowell and Walter Piston. It would not have worked as you suggest--a lecture demo, and would have cost the same. The three pieces by Cage--two of which were premieres in the US--had to be seen and heard; they are performance arts. You are also wrong about audiences. Many concert goers do not like lectures and never go; some can't and won't make it. And we did the Cage because Bard is the home of the Cage Archive, a gift of Merce Cunningham. Otherwise I would have skipped the idea. I have the sense of fighting my worst enemies in a a shadow way, not openly, and I surely have them. I am not struggling--I am struggling for the primary source of survival in music history for large ensembles--patronage. And you once asked a question of me. The answer is that I wish to work on the podium, to perform and the continue to fight--if one odes not work one dies inside--and I am sure many many in the profession would validate the need and the accomplishment. Ask Emmanuel Ax, for example of the members of the Emerson Quartet. Shrugging off arguments in my line of work is only possible when you have an endowment or like Stokowski, Munch , Leinsdorf and Koussevitzky, you married money. Leon Original Message From: "Jeffrey E stein" <*[email protected]> To: "President" Sent: Monday, March 25, 2013 5:52:37 AM Subject: Re: Thanks academically correct, auction metaphor related to ultimate value, new fossil record changes history, explains and possibly connects, destroys closely held beliefs. I have searched for the impact of the cage performances. it was not undiscovered , it had miniscule impact, and would have been as effective as a lecture with a small demo. ./ II want you to win, it would be easy to