The Aspen Music Festival “Tent” from the Beginning to Now: Part II

Outside the Bayer-Benedict Tent, 1987. Photo by Charles Abbott.

THE SECOND TENT: THE BAYER-BENEDICT TENT

Given that Saarinen’s design was a temporary fixture and that snow nearly destroyed the first Tent in the summer of 1965, a new, slightly more permanent Tent had to be created. The Aspen public, however, were not all fond of replacing the original Tent. Their chief reasons being that the original Tent provided a casual atmosphere that fit the town, and it provided and “openness” to the mountains that made it a unique performance venue.

When an article in The Aspen Times casually mentioned that Herbert Bayer—a Bauhaus architect who had previously helped design the renovation of the Wheeler Opera House—would replace the Saarinen Tent with a permanent structure, the people of Aspen were upset, as for many years, they had housed, fed, and donated various items and services to help the Festival run smoothly; it was their Festival, too. Additionally, many felt that the designs of the new Tent should be made visible to the public prior to construction, and when the first designs were released in the Times, they were received poorly, and the design was withdrawn. One person, in a letter to The Aspen Times, claimed that Bayer’s first design reminded them of “Muzak speakers in the throes of connubial bliss.”

Continue reading →

The Aspen Music Festival “Tent” from the Beginning to Now: Part I

“See you at the Tent!” is a common phrase heard all summer long in Aspen. However, the current Tent is not the only tent that has served as a gathering place and performance venue for the Festival, unsurprisingly. A few iterations have stood near its current location and have brought their own challenges for both the concertgoer and performer, alike, creating a unique and entertaining history to be remembered.

THE FIRST TENT

Eero Saarinen, a Finnish architect, was commissioned by the Paepckes to design the first festival “Tent,” which has become a symbol of our Festival over the years. The Saarinen Ten, as it has come to be called, only held 900 people; its roof was white, and its skirts orange, like those of circus tents. Concertgoers sat on wooden benches while the Festival’s benefactors sat on chairs at the front of the Tent. Ushers in the early days wore uniforms that matched the tent: white tops with orange on bottom. A very western color palette, indeed!

Moving away from its circus roots, Saarinen’s tent was designed without a center pole—as this creates obvious sightline issues for patrons—and utilized four poles partway round the perimeter, creating a “raised quadrangle” instead of a typical peak in the center of the tent. The entire structure was anchored by chains, using tension to keep the poles upright. When inclement weather rolled through Aspen, the fun at the Tent began.

Continue reading →

Reminiscences of Aspen

Since its inception, the Aspen Music Festival and School has had the privilege to host many distinguished artists, whether as artist-faculty members, guest artists, or composers-in-residence. They’ve come from all over the United States and the world to spend their summer(s) in Aspen and showcase their many talents. With the Festival underway, we thought we would share a few of their reactions to being in this marvelously majestic and unique environment—both in terms of nature and the Festival itself.

“Aspen is already a challenging cultural stimulus. It offers unique educative advantages and the highest selection of music in excellent performances.”

—Igor Stravinsky

“Aspen offers a mountain vacation with musical entertainment, unmatched, to my knowledge, in the United States and, I am sure, in Europe as well.”

—Virgil Thomson

“A project which may logically result in the establishment of one of the most important centers for art and ideas that this country knows.”

—Olin Downes (New York Times critic)

“Aspen is a fascinating place. It is full of youth and big enthusiasm, and to my big surprise I got very involved in the teaching and helping people. I am very privileged because I have a big percentage of real good voices and it is an immense pleasure for me . . .

You would love it too. I work very hard and very much, but somehow get some rest and fun. The climate is heaven, the nights are cool, sometimes the nights remind me of Jerusalem, especially when the moon is full. Norman Singer is the dean of the music school and he is very bright and loves his job. . . .”

—Letter from Jennie Tourel to Leonard Bernstein, July 17, 1957

Continue reading “Reminiscences of Aspen” →