Few people had the depth impact in the arts community that she did. She commissioned a huge variety of pieces, provided annual grants to several particularly important composers, and has had many works dedicated to her. (A full list of those commissions/grants/dedications is available here, thanks to the American Music Center.) Alan Rich, Norman Lebrecht, Joshua Kosman, and Mark Swed all have lovely and detailed remembrances of her; please go and read at least one of them, if not all. (She was also quite a good photographer-- she took some classes with Ansel Adams-- and Norman Lebrecht has an extensive gallery of her photos of composers and artists at www.lebrecht.co.uk. Search for "Betty Freeman" and you'll be richly rewarded.)
It's not just the magnitude of her support that's notable, but the manner in which she exercised it. First, she followed her personal tastes above all else-- trendiness and groupthink didn't enter into her decisions regarding which composers and works to support. (One could argue that her support actually directed new-music groupthink, but she supported such a wide range of composers and works that she opened up opportunities for large swaths of the field, rather than people working in a particular style or school.) One of her earliest recipients was Harry Partch, who Freeman began supporting when he was practically destitute in the mid-1960s, and whose music and personal demeanor showed no concern for prevailing winds of fashion. The salons that she gave in her home were often the means by which young composers were able to jumpstart their careers. I could go on, but the links above lead to better writers with more first-hand information; please read their remembrances.
To say that they don't make them like her anymore is to imply that they made them like her before she existed. She was unique, and will be sorely missed.
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