A Minute with Miles

In the bad old days of symphony orchestras in this country, music directors were absolute dictators, and orchestra musicians had few protections. If a music director woke up in a bad mood and decided to fire an orchestra musician on the spot, he could… never mind that it might instantly deprive that musician of his livelihood.

In the bad old days of symphony orchestras in this country, music directors were absolute dictators, and orchestra musicians had few protections. If a music director woke up in a bad mood and decided to fire an orchestra musician on the spot, he could… never mind that it might instantly deprive that musician of his livelihood.

Do you agree with the judgment that the two greatest composers of the late Baroque were Bach and Handel? Well, that means, unavoidably, that the rest of the late Baroque composers weren’t as good.

Do you agree with the judgment that the two greatest composers of the late Baroque were Bach and Handel? Well, that means, unavoidably, that the rest of the late Baroque composers weren’t as good.

He may not be well know to the general public today, but, yet Philippe Gaubert was one of the most famous and important French musicians of the first half of the twentieth century.

I don’t suppose you have a pair of four-hundred-year-old pliers in your kitchen tool drawer, or a screwdriver made in the 1700s? No, probably not. Tools don’t tend to last that long. The tools of string players, though, are an entirely different story.

Have you by any chance been hanging on to your grandparents’ old 78 rpm records? Carting them around, perhaps, and storing them on shelves or in boxes whenever you’ve moved from place to place?

I’ve spoken about this before, but the subject seems to come up a lot, so why not go over it again: in America, 99.9 per cent of the people who play the flute for a living call themselves flutists, not flautists. That’s not a scientific number, but I think it’s pretty accurate.

The riches that music has to offer, whether in times of great sorrow or great joy, are both incalculable and irreplaceable.

I play concerts for a living, so you wouldn’t think I’d need reminding of the dramatic difference between listening to a recording and hearing a live performance. But it was as an audience member, recently, not as a performer, that I had my reminder – and it was a pretty spectacular one, because I was lucky enough to attend a concert by the Chicago Symphony Orchestra.