Lawrence Dillon@Sequenza21.com

"There are no two points so distant from one another that they cannot be connected by a single straight line -- and an infinite number of curves."

Composer Lawrence Dillon has produced an extensive body of work, from brief solo pieces to a full-length opera. Three disks of his music are due out in 2010 on the Bridge, Albany and Naxos labels. In the past year, he has had commissions from the Emerson String Quartet, the Cassatt String Quartet, the Mansfield Symphony, the Boise Philharmonic, the Salt Lake City Symphony, the Ravinia Festival, the Daedalus String Quartet, the Kenan Institute for the Arts, the University of Utah and the Idyllwild Symphony Orchestra.

Although he lost 50% of his hearing in a childhood illness, Dillon began composing as soon as he started piano lessons at the age of seven. In 1985, he became the youngest composer to earn a doctorate at The Juilliard School, and was shortly thereafter appointed to the Juilliard faculty. Dillon is now Composer in Residence at the University of North Carolina School of the Arts, where he has served as Music Director of the Contemporary Ensemble, Assistant Dean of Performance, and Interim Dean of the School of Music. He was the Featured American Composer in the February 2006 issue of Chamber Music magazine.


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Monday, February 20, 2006
A Modern President

For Presidents Day, I’m excerpting a speech John F. Kennedy made at Amherst College to eulogize Robert Frost, which Atlantic Monthly ran a few months after he died, and again last month.

It is too easy, upon reading this, to bemoan the deterioration of our political scene over the last four decades, so I’ll forego making comparisons to current, or even recent, presidents. Truth be told, we tend to get the leaders we deserve.

What strikes me most is how much the fall of Modernism has taken a toll on public perception of the arts. In the intervening years, Modernism has been pilloried relentlessly for being inaccessible, and a lot of the criticism was just, but reading this speech makes me regret that we also tossed out some of the aspirations art was commonly held to in the high Modern era.

I guess when you are drowning in bathwater, it’s a bit tough to save all the babies.

In any case, here is JFK, a month before his assassination.

Poetry and Power

by John Fitzgerald Kennedy

This day, devoted to the memory of Robert Frost, offers an opportunity for reflection which is prized by politicians as well as by others and even by poets. For Robert Frost was one of the granite figures of our time in America. He was supremely two things: an artist and an American. A nation reveals itself not only by the men it produces but also by the men it honors, the men it remembers.

In America our heroes have customarily run to men of large accomplishments. But today this college and country honor a man whose contribution was not to our size but to our spirit; not to our political beliefs but to our insight; not to our self-esteem but to our self-comprehension.

In honoring Robert Frost we therefore can pay honor to the deepest sources of our national strength. That strength takes many forms, and the most obvious forms are not always the most significant.

The men who create power make an indispensable contribution to the nation's greatness, but the men who question power make a contribution just as indispensable, especially when that questioning is disinterested, for they determine whether we use power or power uses us. Our national strength matters; but the spirit which informs and controls our strength matters just as much. This was the special significance of Robert Frost.

He brought an unsparing instinct for reality to bear on the platitudes and pieties of society. His sense of the human tragedy fortified him against self-deception and easy consolation.

"I have been," he wrote, "one acquainted with the night." And because he knew the midnight as well as the high noon, because he understood the ordeal as well as the triumph of the human spirit, he gave his age strength with which to overcome despair.

At bottom he held a deep faith in the spirit of man. And it is hardly an accident that Robert Frost coupled poetry and power, for he saw poetry as the means of saving power from itself.

When power leads man towards arrogance, poetry reminds him of his limitations. When power narrows the areas of man's concern, poetry reminds him of the richness and diversity of his existence. When power corrupts, poetry cleanses, for art establishes the basic human truths which must serve as the touchstones of our judgement. The artist, however faithful to his personal vision of reality, becomes the last champion of the individual mind and sensibility against an intrusive society and an officious state. The great artist is thus a solitary figure. He has, as Frost said, "a lover's quarrel with the world." In pursuing his perceptions of reality he must often sail against the currents of his time. This is not a popular role. If Robert Frost was much honored during his lifetime, it was because a good many preferred to ignore his darker truths. Yet, in retrospect, we see how the artist's fidelity has strengthened the fiber of our national life.

If sometimes our great artists have been the most critical of our society, it is because their sensitivity and their concern for justice, which must motivate any true artist, make them aware that our nation falls short of its highest potential.

I see little of more importance to the future of our country and our civilization than full recognition of the place of the artist. If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him.

We must never forget that art is not a form of propaganda; it is a form of truth. And as Mr. MacLeish once remarked of poets, "There is nothing worse for our trade than to be in style."

In free society art is not a weapon, and it does not belong to the sphere of polemics and ideology. Artists are not engineers of the soul. It may be different elsewhere. But in a democratic society the highest duty of the writer, the composer, the artist, is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation. And the nation which disdains the mission of art invites the fate of Robert Frost's hired man—the fate of having "nothing to look backward to with pride, And nothing to look forward to with hope."

I look forward to a great future for America—a future in which our country will match its military strength with our moral strength, its wealth with our wisdom, its power with our purpose.

I look forward to an America which will not be afraid of grace and beauty, which will protect the beauty of our national environment, which will preserve the great old American houses and squares and parks of our national past, and which will build handsome and balanced cities for our future.

I look forward to an America which will reward achievement in the arts as we reward achievement in business or statecraft.

I look forward to an America which will steadily raise the standards of artistic accomplishment and which will steadily enlarge cultural opportunities for all our citizens.

And I look forward to an America which commands respect throughout the world, not only for its strength but for its civilization as well.

And I look forward to a world which will be safe, not only for democracy and diversity but also for personal distinction.