In Reply to: The Deformed Sonata Form posted by Newey on October 29, 2015 at 22:49:54:
And I do not regard myself as anything other than a blind Indian feeling a random body part of an elephant...
From my perspective, critics and musicologists who said ignore everything after Beethoven (yeah, I know that "Beethoven" is written on a shield at the top of the proscenium arch in Symphony Hall Boston, and there is no other composer's name in the room, big whoop) failed majorly in the case of Wagner, even in their own lifetimes, and eventually Mahler arrived at the place he should have been long ago. "Mahler is the new Beethoven" is the current catchphrase.
I am not saying that it was easy to be a modern composer after the time of Mendelssohn. And perhaps the exposure that most of Elgar's works got was either from local-hero-ism, or, "for lack of a better," as the French would say.
So, I think you may be overstating the harm done by the moldy figs, but I think you seriously understate the harm done to 20th-c. music, especially in America, by an Academic Mafia of Serialists and Fellow Travelers that held the purse strings for foundation grants and orchestral premieres.
I think it is little short of a miracle that David Del Tredici got the commission for "Final Alice." And worthy composers such as Lauridsen and Whitacre have had to carve out niches where the grassroots decides what it wants to hear and what it wants to sing.
If anyone can think of a more charismatic example of artistic freedom in music post-1950 than "Final Alice"...
Well, I am no longer writing for Stereophile, so it will not be a reader write-in competition.
ATB,
John
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Follow Ups
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