Roll Over Stockhausen

Classical music could even become the new rock’n’roll
After decades of modernist tyranny, composers want to be popular again
Martin Kettle [The Guardian, 1 Feb 05]
When did the music die? And why? It will be 30 years in August since the death of Dmitri Shostakovitch. Next year also marks the 30th anniversary of the death of Benjamin Britten. Aaron Copland, older than both of them, lived on until 1990 and Olivier Messiaen until 1992. But apart from these?
I can see them already. The protestations on behalf of the half-forgotten and semi-famous, the advocates of Henze and Berio, the followers of Tavener and Adès. Perhaps there will be a good word for Golijov or Gubaidulina, for Piazzola or Saariaho (enthusiasms I share). And maybe, even now, there remains someone who believes that Stockhausen should be mentioned in the same breath as Bach, the last of the true believers clinging to the shipwreck of modernism.
Whatever happened to the composers? Last Saturday, the BBC relayed a broadcast from New York of Puccini’s Turandot, the opera featuring the most famous aria of them all, Nessun Dorma. Yet Turandot, left unfinished on the composer’s death in 1924, is also the grand finale of Italian opera. For around three centuries, operas poured from the pens of Italian composers and found lasting places in the repertoire. After Turandot, there has not been one in 80 years of which that could be said.
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