Dearest Aa ...we bought a phonograph, and there in the same shop was the Clarinet Concerto and the Quartet, on both of which I am therefore now an expert. I am disappointed in the concerto, and I think it may be a little on account of the performance. I remember it as being so much fun when you struggled with it on the piano (of course everything is more fun when you do it on the piano with your apologetic grin), and Benny [Goodman]’s performance is ghastly and student-like, I think. But there is also something that does not satisfy about the score, despite its evident beauties. The opening is ravishing, and I find to my dismay that is in places less like Satie than like the Rosenkavalier trio. Tant mieux, I say, though surprised not a little. Strange, in fact, how many touches of Strauss there are; there is even a slight Don Quixote feeling here and there. I still disapprove of the cadenza, finding it cute but arbitrary; but it is the last part that disappoints me because the last part was so much fun. Of all things, the form. Doesn’t seem to work. But the Quartet, ah, there is another matter I rejoice particularly in the scherzo, because I think it is the longest sustained piece of coninuity you have written in a long time, and it is really continuous, yes, really, and it goes and goes in a remarkably convincing way. I feel rather close to the tonal way in which you are handling tone-rows (I’ve done it too, here and there); andf I ind that this movement is a real triumph. The last movement is beautiful too in a way which has become awfully familiar to Coplandites, so that it is not such a thrill as the second. And the first is lovely, but I never did go for you and fugues, especially here where the opening is so reminiscent of the third Hindemith Quartet. Imagine, Hindemith! Who’da thunk it? But it makes a fine piece, especially for records, because you want to hear it again and again )of course with two or three mambos in between); and I still think you are a marvelous composer. << less