At 12:46 PM 1/30/05 -0800, you wrote:
>Nearly every single concert of the MSO <has> included 
>world premieres of brand-new, never-before-heard-anywhere 
>music.

Now yer talking! Great description of the process of using new pieces as a
natural part of programming. 

>Contemporary music which I find to be worthy of airing and 
>disseminating to others is of great importance to me.

This is an interesting sentence. Now admittedly I have a radio show, so the
effort in programming is relatively insignificant next to finding players
and funders. But even so, I find it incredibly difficult to decide what is
"worthy of airing and disseminating to others" because there is *so much*
fine music being created today. A lot of it I don't like, but that's taste
-- and personal taste aside, it is still incredible stuff. So apart from
the practical issues you've mentioned (abilties, rentals, royalties, etc.),
how *do* you decide? (This is not a trick question!)

>And yeah, I'm the first to admit that I'm no 
>Adams (either one) but then: are you? 

Europeans tell me that we American artists are too self-effacing. So I'll
take the Euro-dare and say "yes". My compositional diversity means I can't
do effective genre promotion. By last count, I've had 78 commissions and
204 premieres -- yet stayed unknown enough for you to be able to ask that
question.

>Gotta crawl first.   Throw 'em some Stockhausen at the first 
>concert and there won't <be> a second concert....or an orchestra 
>to play it.

Omigawd, there's a giant leap between Dvorak and Stockhausen! And this
crawling thing has always troubled me. Nobody has to crawl through old
films to get to new films, old books to get to new books, old jazz to get
to new jazz, old dance to get to new dance, old plays to get to new plays,
old paintings to get to new paintings. The only artistic field that has
proselytized the crawling theory for the past century has been classical
nonpop. But I think you know my p.o.v. as we're arguing about it over on
O-list right now. :)

Dennis


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