At the San Francisco Symphony's February 20 press conference announcing its 2002-2003 season, SFCV read a list of 28 composers resident in the Bay Area (past and present) and asked Michael Tilson Thomas if he was familiar with any of their music. His response was, in effect, negative, and included his reasons or point of view. There were no questions from the handful of journalists in attendance. Nor was any of this reported until Allan Ulrich, Chronicle Music Critic, wrote an extended defense of Tilson Thomas' position and record in the Datebook of the Sunday Chronicle of March 10. The following day, Ross Bauer, one of the composers listed, also chairman of the UC Davis Music Department and founder of the Empyrean Ensemble, sent a reply to Ulrich and the Editor. However, as the Chronicle has not published his succinct response, and since SFCV initiated the discussion, Bauer's letter is presented here.

First, a few background points might be useful. The list was read and the question raised in pursuit of SFCV's earlier criticism that in his seven years as music director, Tilson Thomas has performed the music of only two resident composers. (Subsequently, he has added a third — himself.) The list was read in a serious, level tone, and if Tilson Thomas was "regaled," as the Chronicle article put it, certainly there was no intention to "delight or entertain" anyone, surely not the listener, who accepted this as an earnest query. Of the 28 composers on the list, characterized as "dog-eared," most cannot be described as being "significantly from an earlier generation." 19 are younger than Ulrich, six are of an earlier generation but not significantly earlier, and three are deceased (one just recently). The list was a representative selection, deliberately kept short (there might easily have been 60 names on it).

Dear Editor,

I read Allan Ulrich's article ("Thomas trusts his heart: Musical choices guided by spirit before intellect," in the Sunday, March 10th Datebook) with great interest

It is essential to program music in which you believe. To do anything less is to fail to serve not only yourself, but the music. We have all suffered through (or from) performances in which the interpreters did not understand or appreciate what they were obliged to perform. I believe that most composers would prefer no performance to one in which the performers were not in sympathy with the work. However, I would be surprised if Mr. Thomas has heard any music by more than a very few of the composers on the list which was read to him at the press conference. On that basis, his response is meaningless at best and dishonest at worst. Without at least hearing (much less studying) a score, how on earth can Mr. Thomas know "what brings satisfaction to me?" or whether he "... understand(s) what the notes are saying," much less "...what is showing the orchestra in its best light."

In this context, "feeling the spirit" takes on a whole new meaning. Mr. Thomas is evidently able to channel, and thereby evaluate, music without access to scores or recordings.

I realize that going through numerous scores and recordings is time consuming and often unrewarding, even for someone considerably less busy and in demand than Michael Tilson Thomas. That is why it makes sense, as has been suggested on numerous occasions, to employ a Music Advisor, as the Symphony did in previous years. The Symphony has chosen not to make this commitment. That is their prerogative.

However, I don't think that apologia for this lack of commitment, such as the one offered in the recent article, are helpful. More helpful would be the suggestions somewhat buried in the [Ulrich's] final two paragraphs: "...the orchestra might at least peruse a few more scores from Northern California composers...not out of some vague sense of community obligation, but in the spirit of artistic inquiry."

______Ross Bauer, composer, Kensington, March 11, 2002