
Arnold Schoenberg around 1925. Much of the wariness of new classical music can be traced to the 1920s, when Schoenberg pushed beyond atonality to invent the 12-tone technique.
Credit Hulton Archive/Getty Images
A good-news story in classical music, right? Well, yes and no.
It’s heartening when musicians and writers who believe in contemporary music receive acknowledgment. Still, why does classical music, far more than any other performing art, need “champions” for contemporary work? The implication is that new music is a specialty, some kind of cerebral sideline in danger of languishing but for the efforts of advocates. Ensembles that program lots of new music are perceived as pushing an agenda, forcing audiences in search of a musical feast to eat steamed kale. Full story.
Anthony Tommasini (The New York Times) / November 4, 2016
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