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SEQUENZA21/
340 W. 57th Street, 12B, New York, NY 10019

Zookeeper:   
Jerry Bowles
(212) 582-3791

Managing Editor:
David Salvage

 Contributing Editors:
Galen H. Brown
Evan Johnson
Ian Moss
Lanier Sammons
Deborah Kravetz
(Philadelphia)
Eric C. Reda
(Chicago)
Christian Hertzog
(San Diego)
Jerry Zinser
(Los Angeles)

Web & Wiki Master:
Jeff Harrington

Latest Posts
Fat Monday
The Sylvia Plath of new music?
Mr. Postman
Once--in-a-lifetime concert opportunity
I Prefer the Memory to the Photograph
Two and a Half Cheers for Golijov
La Pasi�n seg�n San Marcos at Lincoln Center
Last Night in L.A. - Ad�s, Kurt�g, Castiglioni
How Not to Sell New Music
He's looking for a few good guitarists


 

Record companies, artists and publicists are invited to submit CDs to be considered for review. Send to: Jerry Bowles, Editor, Sequenza 21, 340 W. 57th Street, 12B, New York, NY 10019

Tuesday, February 28, 2006
How Much is Too Much?

If a composer is prolific, does that necessarily mean that his or her work is uneven? The answer, I suspect, is "sometimes." Martinu, for example, wrote an incredible number of pieces, not one of which is less than an A-. Philip Glass has written a lot--much of it good to very good, but a lot of it stolen from himself. Robert Gable of aworks ponders this fun question first raised by Marc at Occam's Razor in regard to Alan Hovhaness who, at his best, is very, very good (Mount St. Helens, Symphony No. 50 is stunning) and at his worse is pretty darn tiresome.

My favorite Hovhaness recording, by the way, is Violin/Viola and Keyboard Works, Christina Fong, Arved Ashby on Ogreogress.

Lawrence Dillon has some essential advice from a furniture designer.
posted by Jerry Bowles 2/28/2006



 
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