If being forced to work quickly doesn’t guarantee that you’ll create something outside what you normally do, what would guarantee such a result? Is it really ever possible to escape yourself in your work?
Elliott Carter gets a chance to hit a home run in Boston and Chicago at the same time, not even Bernie Williams can do that!
Stravinsky, Zappa, NWA, and possibly Ives, all had second thoughts about works that are considered landmarks of musical history. But, if the second thought happened after the historical fact, can the revision still be a landmark in history?
Rather than complaining about the lack of attention the music we care about is getting in the media, we need to create media ourselves.
Yesterday at a press conference for Dr. Atomic, its outspoken and sometimes provocative director and librettist Peter Sellars suggested that perhaps there are some places that art should not go.
John Adams and Peter Sellars count down to the premiere of Dr. Atomic at a New York press conference.
Is the Tate Gallery rejection of a collection of paintings by the Stuckists an example of careful critical evaluation or yet another example of how the arbiters of taste limit audience awareness of artistic possibilities?
Does music have meaning and if it does, how far can public intelligibility go?