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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
Musical Terrorism
The Devil's Fiddler
El pueblo unido
The San Francisco Treat
Sitting on a Rainbow
Is Blogging Writing?
Hold It Down, Please
At the Composers Forum with Ellen Taaffe Zwilich
A Snowy Day in April
Last Night in L.A. - Turning Off the Jukebox


 

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

Wednesday, April 12, 2006
Private Shine Must Have Leave

Why did Copland and so many other populist American composers flirt with atonality during the early 1950s? Were they driven to abstraction by Pierre Boulez or Joe McCarthy? Was it one of those inexplicable fads--like deconstruction (and existentialism earlier)--that seem to spread like Volvos and Birkenstocks among the tenured set? Picking up on some excellent comments under his previous post, Rodney Lister takes a fresh look at an old mystery.

Should you be in Montreal tonight, don't miss the world premiere of Jacob Sudol's biggest piece to date--Time Fixtures, for eleven players and live electronics. If you're not in Montreal, stop over at his blog and wish him well.
posted by Jerry Bowles 4/12/2006



 
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