tag:blogger.com,1999:blog-9617011.post114087786586143160..comments2024-03-27T23:45:06.093+01:00Comments on Renewable Music: Sørensen's Symphony Wins in a KODaniel Wolfhttp://www.blogger.com/profile/09093101325234464791noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-9617011.post-22446737445838459752009-02-15T22:53:00.000+01:002009-02-15T22:53:00.000+01:00I think I share your tired-new-music-blues. But it...I think I share your tired-new-music-blues. But it's good to hear that the Sørensen piece broke thru. I'm now anxious to hear the two pieces he'll be presenting at OM 14 in a couple of weeks. And to meet him, finally.<BR/><BR/>And I agree with your aversion to the full-catalog approach to writing for instruments so common over the past 25+ years. <BR/><BR/>It is possible to present a work without requiring the composer demonstrate every bizarre technique they know. <BR/><BR/>But I suspect this is more political than aesthetic. Some composers feel they won't be taken seriously unless they push the limits of notation and performance.<BR/><BR/>I don't think listeners approach it that way. Maybe it was an appropriate strategy for the 1950's. But I think we've grown up since then.<BR/><BR/><BR/>At <A HREF="http://othermindsr.org/" REL="nofollow"><B>OM14</B></A> on Thursday March 5:<BR/> <BR/><B>Bent Sørensen:</B><BR/><I>Shadows of Silence (2004)</I> Jens Elvekjaer, piano<BR/><I>Phantasmagoria (1993)</I> Trio con Brio Copenhagen (piano, violin, cello)rchrdhttps://www.blogger.com/profile/10173134583891999855noreply@blogger.com