Given my experiences in Mexico, my lingering question has been, “Who decided, or why do we feel, that we must upend our programming in order for people of targeted ethnicities to comprehend and enjoy classical music played by a live orchestra?”
In his generous and beautifully written book, Robert Reilly leads us through the vast, largely unknown territory of twentieth-century music. The hero of the book is beauty.
Thanks to developments that have been underway not for years but centuries, persons in our time find it impossible to credit the idea of intrinsic goods. Things may be good for something, this we readily see, but we become at best uncomfortable and at worst incredulous that anything should be good in itself. If this is correct, then orchestras are in a dire condition indeed.
The symphonic tradition, and Beethoven’s monumental impact on it, is an imposing legacy which looms like a giant ghost over the shoulder of any living composer foolhardy enough to consider adding to it. Some turn away in terror and even disdain, preferring to carve out a rejectionary stance. It might be the safer option.