In Reply to: A tentative disagreement… posted by David Aiken on January 23, 2008 at 18:44:09:
Consider this neither a response to you nor a continuing defense of my post, but just further thoughts on the subject. I still cling to my general thesis but have nothing serious invested in it, especially considering the qualifications I’ll spell out here.Below are a dozen candidates for “major†status in the 20th century (broadly considered time-wise to include Mahler and Sibelius), along with the works by which we know them best. All of them wrote lots of other stuff, much of it very good, which broadened their oeuvres.
Would we consider them “major†if they had written just the music we know them for best? Does the fact that Shostakovich wrote operas, that Debussey wrote a distinguished string quartet and well-known orchestral music, that Britten wrote moving concertos for violin and for piano, and that Strauss wrote the best oboe concerto I’ve ever heard make their cases stronger? Maybe, maybe not. (Melville wrote one great novel and a couple of famous novellas. He also wrote another half-dozen or so novels and a ton of poetry. Would we consider him great if he’d written nothing but Moby Dick?) We don’t HAVE to answer these questions, but if we’re going to do anything like making such a list of major or the best composers (or novelists), we really should consider them. This is only a game, but no game is worth playing unless you play it hard and to win.
(Perhaps the best answer to the question of what art constitutes the canon (of greatness) is literary critic Frank Kermode’s: that which continues to please critical audiences (defined as people who listen to classical music?) over a couple of centuries. No definitions or rules or quotas needed. Time will tell us if we give it enough time.
One strong opinion I do have about all of this is that if a composer wrote only one great work, it would have to be very great indeed to get him onto such a list. (Moby Dick has obviously been considered great enough on the novel side to get Melville in; The Invisible Man not great enough to qualify Ralph Ellison.) I think we have decided that if a composer contributes largely to one genre and writes some of the best music there is in that genre, he’s in. (There’s a shot at my broad oeuvre thesis.) If we were talking about the nineteenth century, Wagner, Verdi, and Puccini would walk in. Copland is in for his ballets, with or without his many fine works for piano; Sibelius is probably in by virtue of his symphonies but he wrote a hell of a violin concerto and a couple of fine tone poems. Webern maybe doesn’t make it because his “small†works aren’t sufficiently brilliant. I always cop out by calling Shoenberg, Berg, and Webern one composer called Second Vienna School!
Okay, your turn, unless this game bores you. And feel free to edit me below. I can’t think of the composer you’re looking for, but I’ll keep hunting.
1. Stavinsky: ballets broadly defined to include smaller dance works; concertos.
2. Bartok: String Quartets, Concerto for Orchestra, Piano Concertos, Violin Concerto, Divertimento for Orchestra, Solo Piano Music.
3. Shostakovich: String Quartets, Music for Solo Piano, Piano Trio, Cello and Violin Concertos, symphonies.
4. Britten: Operas, Cello Symphony, Suites and Sonatas, Non-operatic vocal music.
5. Debussy: Solo piano music
6. Shoenberg: chamber music, opera, misc. other vocal music, orchestral music.
7. Berg: chamber music, operas
8. Webern: chamber music and songs.
9. Richard Straus: operas, tone poems
10. Silbelius: symphonies, violin concerto, and tone poems.
11. Copland: ballets
12. Mahler: symphonies, orchestral songs.
Edits: 01/27/08 01/27/08
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Follow Ups
- You're not the only guy who can write long posts. - Bob Neill 17:29:46 01/27/08 (3)
- RE: You're not the only guy who can write long posts. - David Aiken 12:25:20 01/28/08 (1)
- I think most would find it easier to place a novelist who didn't produce work in any of the other areas onlist - Bob Neill 13:35:52 01/28/08 (0)
- P.S. - Bob Neill 17:35:42 01/27/08 (0)