Ives, Copland, and Bernstein. And some, of course, would add Barber. These are, opinion has it, the great American composers. But what about David Diamond? He's written symphonies of individual character and rich profundity, concerti of brilliance and virtuosic appeal, theater music of vivid character and immense charm, and incidental scores of wit and color. So what must one do to enter the elite club? Perhaps Diamond's failing was in not carving out a niche he could claim as his own, not forging a dominant trait with ...
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Ives, Copland, and Bernstein. And some, of course, would add Barber. These are, opinion has it, the great American composers. But what about David Diamond? He's written symphonies of individual character and rich profundity, concerti of brilliance and virtuosic appeal, theater music of vivid character and immense charm, and incidental scores of wit and color. So what must one do to enter the elite club? Perhaps Diamond's failing was in not carving out a niche he could claim as his own, not forging a dominant trait with which he could be identified. Ives pioneered a uniquely American style when others looked to European models; Copland cornered the artistic market on the cowboy idiom and music associated with our American heritage (even though Diamond entered this realm first, since the Suite from Tom has roots reaching back to 1936, predating Billy The Kid by two years); and Bernstein was the ultimate chameleon--Broadway Lenny could abandon the neon lights and write symphonies on Hebrew subjects and...
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