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I'll check it out. But why then, I wonder, did Schuller over the following fifty or so years proceed to write the music that he did?
BTW, my take on the "modern music" versus the classical concert audience situation is that it's not a matter of modern composers not writing music that has "some tonality" and "some coherent melodies." Such music is being written, but the audiences that attend classical concerts would much rather hear Brahms, Tchaikovsky, Beethoven, et al. If they find Schoenberg et al. annoying or incomprehensible, but I see no evidence that modern music that has "some tonality" and "coherent melodies" engages them very much if at all.
In his 3/12 New Yorker piece about Andrew Lloyd Webber’s memoir and his musicals, Adam Gopnik writes: “At a deeper level, Lloyd Webber’s memoir exposes a central fault un the hostory of popular musc, In the late fifties, not only was the ‘My Fair Lady’ cast album the biggest seller of its time but s[pinoff jazz albums with musicians playing ‘My Far Laady’ material were huge sellers, too.”
No, Adam, while there were several “My Fair Lady’ jazz albums, only one of them was a “huge seller,” the one with Shelly Manne and Andre Previn.
So, on the one hand, Gopnik doesn’t know this but is dealing with a subject that leads him to state otherwise, while there's no one on the New Yorker’s vaunted fact-checking staff who knows this either. Suddenly, it became clear to me what the rest of my life is going to be like — not only will what I lived through and know did happen during the course of the time I’ve been alive be increasingly stated or remembered inaccurately or just plain erased, but eventually there will be no way, no means, to do anything about this.
tt came from chapter 25 of 'Musings; The Musical Worlds of Gunther Schuller', pages 174-183. The title of the chapter is, 'Toward a New Classicism?'
Some excerpts were GS proclaiming that, "contemporary music has failed to capture the sustained interest of either lay audiences or PROFESSIONAL PERFORMERS (my emphasis)" , and later that what he thought was the usual reception of new earthbreaking music; a a generation or two of hatred or apathy, and then they would grow to love it.
Instead, he writes, "I resigned myself to the notion that the complexities of Schoenberg and Webern would have to wait their 30 to 40 year turn to be resolved and understood.
The problem is that it is no longer 30 years; it's getting to be 60 years (now 100 years!). And my earlier optimism has long ago been replaced by a growing discomfort..."
Read the rest of it and weep...