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The Recovery of Modern Music, Part Two
| Article
# : |
15217 |
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Section : |
THE ARTS
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| Issue
Date : |
8 / 1989 |
2,675 Words |
| Author
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Robert R. Reilly
Robert R. Reilly's second part of his article on English music
appears in the August 1990 issue of The World & I. |
Minimalism is music slowly coming out of a state of shock. At best, it can be understood as playing a rehabilitative role in the recovery of music from its nearly complete self-destruction during the past eighty years. Minimalism's primary achievement has been the reestablishment of a rhythmic and harmonic frame of reference. But although it is a symptom of musical recovery, minimalism is not the recovery itself.
Minimalism's principal practitioners were trained in the dodecaphonic orthodoxy, and at some point in their lives had to turn decisively from its tenets. This rediscovery of tonality as, in composer John Adams' words, "not just a stylistic phenomenon that came and went, but a natural acoustic phenomenon," often came as the result of a powerful experience.
Though no Minimalist, George Rochberg was the first major composer to break out from the hermetically sealed twelve-tone system. He is perhaps the most eloquent in describing what the spiritual journey this kind of "diatonic conversion," as Adams calls it, requires. In his case, it was precipitated by the death in 1964 of his twenty-year-old son, Paul: "It became crystal clear to me that I could not continue writing so-called serial music. It was finished, hollow, meaningless." He saw that atonality and serialism "made it virtually impossible to express serenity, tranquility, grace, wit, energy."
In connection with his third string quartet, Rochberg wrote a powerful manifesto:
The pursuit of art is much more than achieving
... (1946 of 15162 Characters)
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