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Published online by Cambridge University Press: 20 March 2014
Since 1972, the Parisian Festival d'Automne has organised dozens of events every year in the field of theatre, dance and music. The list of premieres is impressive, and comprises all the major names in the realm of contemporary art. The concerts represent a kind of anthology of recent outstanding achievements, combined with commissions from younger composers, and a recapitulation of important works of twentieth-century music which may be mentioned in every music history but are rarely performed: this year, for instance, featured Karlheinz Stockhausen's Trans. Offering a precious and vital complement to the other various Parisian seasons, the Festival has no venue of its own, so that, as quite a number of the concerts are co-produced with other institutions, the ‘visibility’ of the festival stems only from the quality of the programming, the excellence of the musicians, and the interaction with the overall artistic project.
1 Taruskin, Richard, Defining Russia musically (Princeton: Princeton University Press, 1997)Google Scholar, chapter 11, esp. p. 258 and p. 292.
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