and a 1999 all-Copland concert showed that the situation had not changed. Bad acoustics might have also played a part in the work's lack of success at its premiere. More recent performances, led by conductors Pierre Boulez, Edo de Waart and Sixten Ehrling, have been acknowledged to show the music in a more positive light. Nevertheless, the overall reputation of the music remains mixed. Some critics, including composer John Adams, have remained critical of the work and considered Copland's use of serial techniques detrimental to his later music. Others, which include critics Michael Andrews and Peter Davis, have seen Connotations as proof of Copland's continued growth and inventiveness as a composer while not downplaying the work's melodic and harmonic harshness and potential difficulty overall for listeners. Background Aaron Copland wrote Connotations to fulfill a commission from Leonard Bernstein for the opening concert of the New York Philharmonic's new home in the Lincoln Center for the Performing Arts. Since this hall was slated as the first part of Lincoln Center for completion, its inauguration was considered especially momentous. Among the guest list of 2600 for the first concert and the white-tie gala which would follow it were John D. Rockefeller III (chairman of Lincoln Center), Secretary of State Dean Rusk, Governor and Mrs. Nelson Rockefeller, United Nations Secretary General U Thant and prominent figures in the arts that included of Metropolitan Opera General Manager Rudolf Bing, violinist Isaac Stern and actress Merle Oberon. Noted composers would also attend included Samuel Barber, Henry Cowell, Roy Harris, Walter Piston, Richard Rodgers, William Schuman and Roger Sessions. United States President John F. Kennedy and his wife Jackie had also been invited. Their initial inability to attend caused some consternation, since they had voiced their support for American culture. At the last minute, Jackie Kennedy said she would be there. Copland was one of ten internationally known composers who accepted invitations to contribute music for the opening. His would be the first new piece to be heard. Other compositions included the Eighth Symphony of American composer William Schuman, an Overture Philharmonique by French composer Darius Milhaud and "Andromache's Farewell" for soprano and orchestra by American composer Samuel Barber. It would also be Copland's first purely symphonic piece since his Third Symphony of 1947, although he had penned orchestral works in a number of genres throughout the 1940s and 50s. According to Taruskin, Copland's receipt of