Spring of ’68, rehearsing for Scheherazade with John Mauceri for his first concert with the YSO, in the ratty old rehearsal room in Hendrie Hall. A crappy Wollenzak tape recorder playing the full orchestra recording while I and two other budding composers, Lucky Mosko and Humprey Evans, tried to master the percussion parts. I was on bass drum and gong. Lucky was a pro on triangle. Humphrey’s tambourine kept sliding off the music stand it was perched on. At our first rehearsal with the YSO assembled in Woolsey I was so nervous getting the gong right that I walloped it. Suddenly the hall was silent with laughter roaring through all the orchestra members. And a huge gong reverberation bouncing back from the depths of the auditorium. John was very kind. I gave up the gong part and stuck with bass drum. Paul Severtson played the violin solo. Somehow at the actual performance pure magic happened. That’s when I fell in love with the YSO.
— Conrad Cummings ’70
As a student in the Yale School of Music I had the good fortune to play alto flute in rehearsals and performance of Stravinky’s Le Sacre du printemps (John Mauceri conducting). Spring, 1970, and Yale was rather shut down in anticipation of May Day demonstrations (the strike/close-down of Spring 1970 was about a lot more than the May Day demonstration and the trial of Bobby Seale). But I could exult in the many rehearsals of this college orchestra (unlike the few rehearsals allowed in the professional world). Ah, what joy. During one rehearsal in vast Woolsey Hall I saw a sliver of light come through a high window—I had a mystical experience. Which included awareness that Le Sacre was based on two notes! (Or so it seemed.)
— Jill Shires MMA ’70