By John Borstlap
The Classical Revolution is an available and informative polemic for track fans with an curiosity within the which means of classical tune generally, and the classical culture specifically which looks re-emerging within the twenty first century. it's going to both curiosity teachers, song administrators, promoters, programmers, musicians, and song scholars alike considering that right here, a large box of latest musical adventure opens itself up, with a hopeful viewpoint at the way forward for track.
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Extra info for The Classical Revolution: Thoughts on New Music in the 21st Century
In the current argument, “classical” is meant to be understood as exactly such a dynamic concept, as an idea of re-creating a great art form, one of the important gifts to humanity; “classical music” is thus understood as a term covering Western art music from its earliest beginnings with Gregorian chant until the onset of twentieth-century modernism. TWO The Fallacy of Moderism I: The Truth That Dare Not Speak Its Name Before abolishing something, it would be wise to first stop to consider its merits.
It is a struggle that has to be won by argumentation, focusing upon facts and experience, the importance of classical music for society as a whole, and, above all else, the artistic quality of new classical works. And yet, this revolution is going on already for two decades, quietly and decently, carried by individual composers who independently of each other discovered some very basic truths about Western musical culture and set out to delve into the hidden layers of history, searching for the well that fueled ages of remarkable creation.
Blowing up this bridge is a deed of cultural terrorism, the damage of which will be very hard to repair, certainly so in times when serious music as a whole is no longer considered an important cultural phenomenon in the public space. Ernst Roth, director of the famous Viennese publishing house Universal Edition from 1928 to 1938, when he moved to London, where he worked at Boosy & Hawkes, knew composers like Schönberg, Szymanowski, Berg, Webern, Stravinsky, Bartok, and R. Strauss from direct and close contact while publishing their works.