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.”