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The Rise of the Concerto and the Fall of the Symphony in Britain

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Author Topic: The Rise of the Concerto and the Fall of the Symphony in Britain  (Read 1241 times)
« on: November 17, 2012, 11:36:39 pm »

. . .  there would appear to be fewer and farther between pieces called "symphony" from leading and widely performed composers . . .

This connects with what I have (often enough) said about the rise in recent decades of the cult of the "silly name" and the modernists' terror before the idea of absolute music.

- And I see that what Mr. D has just written about "intimidation" and "daunting prospects" fits in as well!

Is not the silly name fundamentally a kind of "cop out"?

Weingartner already had a lot to say about this phenomenon, in his discussions of the historical standing of Liszt's music. It all boils down to the frequency and placement of modulations, doesn't it.
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