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2 results

  • Chapter 9 - Interactions Among Three Mavericks of the 1960s

  • from Part II - Conducting
  • Edited by Elizabeth A. Wells, Mount Allison University, Canada
  • Book:
    Leonard Bernstein in Context
    Published online:
    06 April 2024
    Print publication:
    28 March 2024, pp 66-74

  • Summary

    The atmosphere of innovation and experimentation in the 1960s was not lost on Leonard Bernstein. His advocacy for the Mahler symphonies, for instance, was highly influential to a generation of composers excited by Mahler’s stylistic heterogeneity. Indeed, one of the best-known examples, Luciano Berio’s Sinfonia, was dedicated to Bernstein and a New York Philharmonic commission. Bernstein also collaborated with two other mavericks of that decade: the pianist Glenn Gould and the composer John Cage. With the former, Bernstein led a much-understood but controversial performance of the Brahms first piano concerto; with the latter, he created a programme with the Philharmonic about what he called aleatoric music, including a performance of Cage’s indeterminate work Atlas Eclipticalis. These encounters were of immense importance to all three artists.

Heiner Goebbels and Curatorial Composing after Cage

Heiner Goebbels and Curatorial Composing after Cage
  • From Staging Works to Musicalising Encounters
  • Ed McKeon
  • Published online:
    28 October 2022
    Print publication:
    24 November 2022
  • This Element introduces the notion of curatorial composing to account for certain musical practices that emerged from the 1960s as the founding concepts of music as an art – instituted in the modern era – were systematically dismantled. It raises the key question of how musical value and authority might be produced without recourse to an external principle, origin, transcendental framework, or other foundation. It argues that these practices do not dismiss the issue of value or simply relativise it but shift the paradigm to a curatorial concern for composing public encounters and staging events. The Element shows that Lydia Goehr's elaboration of the work-concept provides a framework that was transformed by John Cage in his work from 0'00” (1962) onwards. The Element then introduces Heiner Goebbels' practice and focus on his role as Artistic Director of the Ruhrtriennale (2012–14), which it argues was an extension of his curatorial composing.