You know you're in trouble with an American work from 1961 when the composer begins his notes for the premiere with the sentence "The basic row is proclaimed in the very opening bars of the introduction." With serialism as dead as Communism -- think of Elliott Carter as American music's equivalent of Fidel Castro -- the whole idea of a basic row being proclaimed in the very opening bars of the introduction is absolutely anathema if not positively poisonous. Even if the composer is David Diamond and the work is his Symphony ...
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You know you're in trouble with an American work from 1961 when the composer begins his notes for the premiere with the sentence "The basic row is proclaimed in the very opening bars of the introduction." With serialism as dead as Communism -- think of Elliott Carter as American music's equivalent of Fidel Castro -- the whole idea of a basic row being proclaimed in the very opening bars of the introduction is absolutely anathema if not positively poisonous. Even if the composer is David Diamond and the work is his Symphony No. 8, you're still in trouble. While the composer who wrote a brilliant First, an expressive Second, and a profoundly moving Symphony No. 3 in the '40s could still write brilliant, expressive, and moving music for his Eighth, there is too much of the esoteric and the recondite. Of course, this is Diamond, so even at its most esoteric and recondite, he's still a brilliant, expressive, and moving composer, but he's replaced his lyricism with linearity and his modality with deliberate...
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