Next to the music tent lies what violinist Pinchas Zukerman calls “the first concert hall of the twenty-first century.” To keep this 500-seat auditorium from upstaging the Aspen Music Tent, Harry Teague buried it underground behind aluminum and glass garage doors and a roof of tilted white planes that shape sound below and reflect the multiangled surrounding hills. Teague told The New Yorker (September 6, 1993) that he designed the $7 million hall to be a “virtually soundproof” space for listening and recording. “People have been listening to music in the tent through storms, the screeching of magpies, even a shooting,” he explained. “It's lousy acoustically, but it's an icon that had to be respected. The new hall is like a cadenza to the tent. Whereas the tent is perfectly symmetrical, the hall is asymmetrical. Symmetry is the enemy of good music.”
You are here
Joan and Irving Harris Concert Hall
If SAH Archipedia has been useful to you, please consider supporting it.
SAH Archipedia tells the story of the United States through its buildings, landscapes, and cities. This freely available resource empowers the public with authoritative knowledge that deepens their understanding and appreciation of the built environment. But the Society of Architectural Historians, which created SAH Archipedia with University of Virginia Press, needs your support to maintain the high-caliber research, writing, photography, cartography, editing, design, and programming that make SAH Archipedia a trusted online resource available to all who value the history of place, heritage tourism, and learning.