Corlyss_D wrote:Maybe I should ask you who you have in mind. You know who I don't like. Who should I be listening to to try to understand your point? And don't tell me you because I'm not even close to wandering up to Boston anytime soon. :)
Well, I won't tell you "me," because most of what I've been writing these eight years past has been more tonal than otherwise (though a 'virtual neighbor' on the West responded very favorably to my Square Dance
, and calls it her 'favorite atonal piece' ... though it isn't atonal, really ....)
influence is much broader than the post-War avant-garde sought to make out; his legacy is not only 12-tone (itself an idea which admits of various applications), but in the example of not limiting his musical world to 12-tone. He really did
say, "Much good music remains to be written in C major."
I'll suggest two pieces, based on a BSO
program this season past. One of the concerts I enjoyed best, featured pianist Peter Serkin
playing Stravinsky's Movements for piano and orchestra
, and a new piano concerto by Charles Wuorinen
piece really owes more, directly, to the soundworld of Schoenberg's
... and one of the ways in which the piece resembles Webern's
work is, the piece is short enough that it is over before serious annoyance can set in :-)
Seriously, it is a piece which is going to sound absolutely chaotic the first time; and I encourage you to give it at least that first time (and even the first time, hey, it might float your boat, or some portion of your boat). But the coherence of the piece will only really 'sink in' after a few listenings (and again, in the case of this piece, "a few listenings" in the aggregate, will total less than an hour by the clock ... though unless the spirit move specifically in that wise, I shouldn't advise doing all the listening the same hour :-)
And the objection has been raised, why should repeat listenings be "necessary"? I cannot answer absolutely. But I think we all have favorite pieces, which were something dense to us when we were first exposed to them, but whose sense and content became clear to us only with greater familiarity.
The other piece on the program, which takes late Stravinsky
as an important model in a way analogous to late Stravinsky
as models, was Wuorinen's Fourth Piano Concerto
. I can't recommend that (though I found it a strong piece) because of course, no recording is available yet. But Garrick Ohlsson's
brilliant recording of the Third Piano Concerto
has been reissued, and it is exciting, well-shaped music. And ... it closes with a major chord :-) :-) :-)
Still, you know ....
Much as I like these pieces, and even when you give them a good try, it's possible that they still may not convince you. To paraphrase Archbishop Sheen, no one can make you like any music against your will :-) ... and there's more to it than the will.
But, at least, rest assured that there are
people who do
like these pieces, and they aren't unnatural aliens from another planet.
And after all, you just may
like them, yourself, you know ....