Make that "Small-Ensemble Music"

One of New York's self-admitted curmudgeonly composers, who wishes to remain anonymous for understandable reasons, responds to my "Master Narratives" blog entry, going even a little further than I would have:

It has always been curious (and frustrating) to see that contemporary musicians are so willing to anchor themselves to the very narrative that you write about. How many times have you been in a conversation nominally about new music, only to have someone in the group say things like "well, its just like what Bach did in The Art of Fugue" or "If Mozart was alive, he'd definitely have dual processors in his Macintosh" - and my personal favorite, "Beethoven was a great improvisor." Or even composers who bring in historical references into their new works by titling them "Sonata" or "Variations" or the worst - "Ars [fill in the blank]."

My point being, all of this falls into the linear narrative of Eurocentric concert music from the Great Centuries. Yes, the press wants to talk about orchestras, but look at how many of our composers (friends, even!) are still trying to knock on the doors of the concert world (and taking their knocks), speaking in the rhetoric of that world, and perpetuating the myth that they are a welcome part of it.

"Chamber music" - give me a break!

Well, yes, when was the last time a string quartet was actually played in a "chamber"? My own pet peeve is American composers who pretentiously write not only "Adagio" in a score when they mean "slow," but "al niente" and even "con gran espressione." When it's students, I always taunt them: "You have an ensemble in Italy you're sending this score to?" Beethoven rebelled by writing "Hammerklavier" instead of "Fortepiano" on his Op. 106, but many Americans have yet to make so bold a break from the old country.

And another composer writes:

Every generation believes civilization will die with it. It's a mystery to me exactly what the classical music establishment gets from its members-only doomsday scenario. Still, I have to say: The sooner, the better.

Note to orchestras: don't expect a lot of sympathy from the composing community.

February 24, 2004 8:53 PM |

Categories:

Sites To See

Postclassic Radio! - Kyle Gann's internet radio station that accompanies the blog; see the playlist at kylegann.com

American Mavericks - the Minnesota Public radio program about American music (scripted by Kyle Gann with Tom Voegeli)

Kalvos & Damian's New Music Bazaar - a cornucopia of music, interviews, information by, with, and on hundreds of intriguing composers who are not the Usual Suspects

Iridian Radio - an intelligently mellow new-music station

New Music Box - the premiere site for keeping up with what American composers are doing and thinking

The Rest Is Noise - The fine blog of critic Alex Ross

William Duckworth's Cathedral - the first interactive web composition and home page of a great postminimalist composer

Mikel Rouse's Home Page - the greatest opera composer of my generation

Eve Beglarian's Home Page - great Downtown composer

Just Intonation Network - a meeting place for people interested in alternative tunings

Erling Wold's Web Site - a fine San Francisco composer of deceptively simple-seeming music, and a model web site

The Dane Rudhyar Archive - the complete site for the music, poetry, painting, and ideas of a greatly underrated composer who became America's greatest astrologer

Utopian Turtletop, John Shaw's thoughtful blog about new music and other issues

About this Entry

This page contains a single entry by PostClassic published on February 24, 2004 8:53 PM.

Following the Classical Script was the previous entry in this blog.

Announcing Liquid Brick is the next entry in this blog.

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