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This repertory is also confined to a very limited period.
Though this repertory is eclectic, it isn't remotely a grab bag.
Since most of this repertory is well performed, the excitement is as high among newcomers as among those of us who have known these works for decades.
This repertory is his life's work; you get the sense that he would do a lot more than carry around some furniture to get the job done.
And for a portion of the Graham audience, I suspect, Eilber's whole effort to renovate this repertory is not going to work.
The one clue that he is a tourist in this repertory is his tendency to use vibrato where a Baroque singer would use an articulated trill.
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And sometimes Mr. Maazel's performances of this repertory are marred by his penchant for making interpretive points in the way he shapes phrases and manipulates tempos.
Time was when ensembles specializing in this music sawed away energetically but with little subtlety, and those of us devoted to this repertory were happy just to hear it.
All the rectitude, clarity and fervor that he and the musicians have worked hard to achieve in this repertory was there with no sense of forcing or undue effort.
This time, though, the repertory is modern and eclectic, and it includes vocal as well as instrumental scores, with some interesting twists -- not least among them Messiaen's "Dieu Parmi Nous," with requires the eerie electronic sound of the ondes martenot, and Carl Ruggles's "Angels" for muted brass.
But the idea of adding to the repertory is unnerving.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com