b'PROGRAM NOTES into his music nonetheless. Bernstein observed, [These] detailshad written themselves, wholly unplanned and unconscious. Since I trust the unconscious implicitly, finding it a sure source of wisdom and the dictator of the condign in artistic matters, I am content to leave these details in the score.Reviews were generally favorable. Even in its most meditative and introspective moments, it has the soberness of youthit is vigorous and ebullientwrote one critic. Even Olin Downes, who called The Age of Anxiety a triumph of superficiality, went on to ask, But just what is sincerity? Is not the glitter of this score, its restlessness, its unease, its obvious artificiality, precisely the sincere expression by a young musician of today, of todays anxiety? Elizabeth Schwartz Elizabeth Schwartzis a writer and music historian based in the Portland area. She has been a program annotator for more than 20 years and works with music festivals and ensembles around the country. Schwartz has also contributed to NPRs Performance Today, (now heard on American Public Media.)NOTE: These program notes are for Santa Rosa Symphony patrons and other interested readers. Any other use is forbidden without specific permission from the author, who may be contacted atclassicalmusicprogramnotes.com22 Santa Rosa Symphony(707) 546-8742'