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Prokofiev was looking for a specific kind of creativity. He wanted from Koussevitzky those three things: 1) a 'brilliant' production, 2) an 'inspired' performance, 3) a 'brilliant' conductor. In the Fall of 1921, Prokofiev wrote to the Metropolitan Opera chief Antonio Casella, 'I am so much in need of a conductor who is free from the slightest trace of self-importance, who will be the most in tune of all musical qualities, a conductor who feels that he is the absolute master of the situation and who will not make the slightest concession to those who are not in his own class.'[16]
If there is a 'gift,' it is the gift of a harmonious relationship with one's own work. At the extreme, the composer becomes the conductor, as Prokofiev had already demonstrated at the piano for himself and for his adjutant in Vienna in March 1919, where he put his whole effort into the performance of his Second Piano Concerto. The piano is more of a conductor for the orchestra than a pianist for the orchestra. Prokofiev was on a quest to find a conductor who, like himself, could guide a performance from behind the podium. In the last quarter of the 1920s, Prokofiev began to hear about some of the young musicians that the Meadows orchestra would be working with. One of these was the young boy named Aaron Copland, who would appear at the 1920 International Exhibition of Arts and Science at the World's Fair in New York City, and who would have a profound influence on the young composer. Prokofiev wrote to him on 10th May 1921, 'I only hope that you are an excellent conductor, and that you will produce with care for the orchestra of the Meadows Symphony.
A couple of weeks before the fall semester, the Meadows music department received a special gift: the gift of time. We remembered the great composer, Argentinian G. B. De Falla, who died in 1944 at the age of 42, when we learned of the passing of the University's alumnus who had a strong connection to the Meadows music program, Professor Arthur A. Weinstein.[15] We have enjoyed every moment of this particular aspect of the semester. As advisors we are privileged to be associated with both the performance and teaching of music.
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