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MusicJanuary 1997 Harnoncourt conducts Beethoven On Nikolaus Harnoncourt & the Chamber Orchestra of Europe at Carnegie Hall, New York Classical musicians in the late twentieth century appear to have largely abandoned the ambition to compose new and attractive music. And who can blame them? An indifferent population with a steadily decreasing attention span has made up its mind about new music. Kingsley Amis, with characteristic subtlety, put it best: “Twentieth century music is like paedophilia. No matter how persuasively and persistently its champions urge their cause, it will never be accepted by the public at large, who will continue to regard it with incomprehension, outrage and repugnance.” This is no revelation, particularly to musicians. Drawing on the risk-allocation techniques developed by their brethren in the financial world, the more adaptable of the musical breed have hedged the risk of creative downside (i.e., composing a dud) by simply choosing works by name-brand members of the canon and devising novel renderings for t ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 15 January 1997, on page 50 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/hamoncourt-penrose-3411
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On the lasting power of the composer & his tumultuous life. A review of The Triumph of Music: The Rise of Composers, Musicians and Their Art by Tim Blanning.
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