Positive
Music in Our Concert Halls
Since I returned to music
composition in 1986 and started following
classical music reviews, I have noted a definite bias on the
reviewer's
part towards atonal or experimental music and away from tonally
based contemporary new works. In my own case, I can point to several
reviews of my own compositions which have been issued for various
recordings. I compose in a melodic, somewhat romantic idiom using
traditional forms but with a decidedly contemporary slant which would
easily identify me as a contemporary composer. Audiences have consistently
loved my works. Some
of the reviews of my recorded works have
not just been negative, but in one particular case, actually vicious,
personal, and out to eliminate my career. There are certain buzz
words that these reviewers use: schlock, derivative, movie music,
elevator music. They seem particularly offended by seamless melody.
If
I
were the only tonal composer treated in this manner I wouldn't
be writing
this, but I have noted similar treatment of my colleagues who compose
tonal music. I give here two examples:
A
well known opera/vocal composer had a world premiere of a new
opera
in the San Francisco Bay area where I live. He writes beautiful, melodic music, which is perfect
for opera. There were two reviews in two different newspapers. One
waxed almost poetically about how beautiful the music was, how
the singers
obviously loved the music etc etc. The other was a total condemnation
of his work using at least three of the buzz words I mentioned
above: derivative, schlock and movie music. The latter reviewer
was slanted by his bias against new tonal compositions and unable
to find anything good about this opera at all. One could not believe
that these two reviewers were writing about the same opera.
In
1991 I participated in a music festival of new music. Almost all
the offerings
at the festival were of electronic or extremely dissonant, experimental,
jagged works. There was only one concert that consisted of
works by tonal composers, myself included. The reviewer, David Cleary,
gave almost all of the festival good marks except this one tonal
concert
which he literally tore to shreds. Again the same buzz words: derivative,
schlock, elevator music etc. Again, the audience was wildly appreciative,
which also probably made the reviewer even more suspicious.
I
have noted a composer who changed his idiom from atonal to tonal
receiving
bad reviews for the latter, even though he received good reviews
for the former. I read the New York Times reviews and the bay area
papers and what I have written above appears to be the case almost all the
time in reviews of music. In the heartland or middle of the country as well as
outside of the
big cities, however, reviewers appear to be more tolerant of new
tonal music, and
in some case I have received glowing reviews from newspapers located
in these more rural locations.
Finally
I would say that
there definitely is a gap between what audiences
want to hear and what critics think they ought to hear. I don't
think audiences should need to "study" in order to
appreciate a new
work. it should be readily apparent in the first few minutes of performance
if the music is going to speak or not. I feel, in a sense that
music critics have been partially responsible for the lack of programming
of much contemporary music and lack of audience enthusiasm thereof.
By criticizing accessible new music they have discouraged many large
big city conductors from programming new music that would actually
appeal to their audiences, and in its stead they have had a diet
of mostly intractable, unappealing works, thus giving a bad name
to all
contemporary music.
The discrimination against tonal composers in the 50s, 60s, 70s and
80s (and partly into the 90s) was accentuated by composition
professors at the universities who insisted that young
composition students adhere to the party line, which was
serialism, atoniality, and the abandonment of traditional
harmonic, formal and melodic concepts. The music critics' aping
of the composition department's value judgments only made the
climate even more hostile to any tonally oriented composer. It
really amounted to an atonal dictatorship and the price for not
adhering to it was being blacklisted in the field or in the case
of some composers I know that returned to tonal writing, losing
their grants and being dismissed from graduate schools. Many of
us simply retreated for many years, but thankfully are now reemerging,
as a more favorable climate has been returning.
Nancy
Bloomer Deussen
Composer
www.NancyBloomerDeussen.com
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